The Bergman Island writer/director on the Swedish maestro, the inner lives of artists and the process of bringing dreams to life.
Mia Hansen-Løve’s lilting rumination on art, relationships and cinephilia is one of her most accomplished and moving films to date.
Léonor Serraille comes good with her novelistic second feature about an immigrant family fighting for survival in France.
Michelle Williams excels as a sculptor whose attention is sapped by colleagues and family in Kelly Reichardt’s ambient social satire.
Albert Serra returns with an apocalyptic saga set in Tahiti in one of his most accomplished and mature films to date.
Lukas Dhont’s second feature focuses on the friendship between two boys, and the tragedy that changes the trajectory of their lives.
A woman who leaves her infant son in a Busan “baby box” finds an unexpected family in Hirokazu Koreeda’s tender drama.
Baz Luhrmann’s sweaty, opulent take on the King of rock ’n’ roll is not a biopic but a fairy tale.
Claire Denis adapts Denis Johnson’s 1986 novel about love in a time of revolution – with fascinating, if not entirely successful, results.
Saeed Roustayi’s panoramic melodrama of a poverty-stricken Tehran family in the midst of disintegration is a knockout.
A man on his deathbed recounts his youth as a firefighter in João Pedro Rodrigues’ striking queer feature.
By Ryan Coleman
A Costa Rican man resists attempts to destroy his home in director Ariel Escalante Meza’s mystical drama.
Emmanuelle Nicot paints an achingly beautiful portrait of friendship, recovery and identity through a young girl’s sexual abuse story.
By Mark Asch
The Dardenne brothers return with a harrowing story of human trafficking in Belgium, centring on two young migrants.
Letitia Wright and Tamara Lawrance star in Agnieszka Smoczyńska’s ambitious but flawed biographical feature.
Verena Paravel and Lucien Castaing-Taylor’s humanist portrait of care, surgery and technology is one of the highlights of Cannes 2022.
A narcissistic couple engage in a constant game of one-upmanship in Kristoffer Borgli’s disappointingly one-note feature.