Wes Anderson, Kelly Reichardt, Joachim Trier and Julia Ducournau are among the contenders for this year’s Golden Palm.
Ben Whishaw rises to the occasion of essaying the poet, provocateur and political dissident Eduard Limonov.
A visually ravishing if emotionally and thematically opaque travelogue is the latest from Portuguese maestro, Miguel Gomes.
The clashing cultures of Canada and Iran are fused in Matthew Rankin’s dryly comic follow-up to The Twentieth Century.
A young tennis star refuses to open about an abusive coach in Leonardo Van Dijl’s impressive feature debut.
This ghastly musical melodrama from Jacques Audiard tells of a Mexican cartel bosses’s gender affirming surgery.
Ignore the haters – this is the kaleidoscopic, enriching, Wellsian vision of a grand old master with nothing to lose.
Andrea Arnold returns with a flighty kitchen sink reverie that sadly falls from grace in a muddled second half.
The opening film of the 2024 Cannes Film Festival offers a limp metafictional critique of the modern film industry.
The psychological courtroom thriller with the great Sandra Hüller wins the top prize at the Cannes Film Festival.
By Mark Asch
Josh O’Connor breaks out his halting Italian as a grave-robbing rascal in Alice Rohrwacher’s divine exploration of time, history and memory.
By Mark Asch
Italian veteran Marco Bellocchio’s adaptation of David Kertzer’s The Kidnapping of Edgardo Mortara is an occasionally enthralling, yet often staid and repetitive affair.
French provocateur Catherine Breillat returns with strange film about a transgressive sexual relationship between a middle-aged lawyer and her teenage stepson.
Juliette Binoche and Benoît Magimel play late 19th century gourmands in Tran Ahn Hung’s scintillating epic of proto-foodie passions.
The long-awaited return of Spanish filmmaker Victor Erice is a slow-burn marvel which climaxes in a sequence of overwhelming profundity and mystery.
Martin Scorsese’s wistful remembrance of tragedies that befell the Osage nation is a film of high seriousness and low spectacle.
Mexican provocateur Amat Escalante makes a half-cocked bid for mainstream respectability in this intriguing tale of a young man’s torrid search for his missing mother.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
