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Imposing sci-fi architecture with angular, layered structures in shades of grey; a person wearing a red and black jacket stands in the foreground.
Festivals

L’Empire – first-look review

by David Jenkins

A lunatic piece of sci-fi social real­ism in which Bruno Dumont brings fly­ing church­es and sexed-up aliens to France’s Opal Coast.
A person wearing a police helmet and vest, standing in front of a blurry urban backdrop.
Festivals

France – first-look review

by Mark Asch

Léa Sey­doux plays a TV jour­nal­ist in Bruno Dumont’s satire-of-sorts about France’s rela­tion­ship with its media and itself.
A girl in a green knit scarf and blue jacket stands outdoors, holding a walking stick.
Festivals

Jeanne – first look review

by Beth Webb

Bruno Dumont’s sequel to his musi­cal por­trait of a young Joan of Arc is endurance cin­e­ma at its most epic.
Two couples embracing, with two men in suits standing in the background.
Review

Slack Bay

by Phil Concannon

It’s slap­stick can­ni­bal class war on the sea­side from one of Europe’s most unique and con­sis­tent­ly sur­pris­ing directors.

3
Anticipation
4
Enjoyment
4
In Retrospect
Two couples embracing, with two men in suits standing in the background.
Festivals

Slack Bay – first look review

by David Jenkins

Direc­tor Bruno Dumont invites us on a French sea-side hol­i­day with a macabre twist.
Two uniformed figures, one on a bicycle and another standing beside a red brick wall.
Review

P’tit Quinquin

by Anton Bitel

The high priest of gloom, Bruno Dumont, returns with a com­e­dy which is part Jacques Tati, part Twin Peaks.

4
Anticipation
4
Enjoyment
4
In Retrospect
Portrait of a serious-looking woman with dark hair and a pensive expression.
Review

Camille Claudel 1915

by Violet Lucca

The anguished face of Juli­ette Binoche is the emo­tion­al core of this har­row­ing study of an artist.

3
Anticipation
2
Enjoyment
4
In Retrospect