Cannes Film Festival

Pacifiction – first-look review

By David Jenkins

Albert Serra returns with an apocalyptic saga set in Tahiti in one of his most accomplished and mature films to date.

Close – first-look review

By Hannah Strong

Lukas Dhont’s second feature focuses on the friendship between two boys, and the tragedy that changes the trajectory of their lives.

Broker – first-look review

By Charles Bramesco

A woman who leaves her infant son in a Busan “baby box” finds an unexpected family in Hirokazu Koreeda’s tender drama.

The Stars at Noon – first-look review

By David Jenkins

Claire Denis adapts Denis Johnson’s 1986 novel about love in a time of revolution – with fascinating, if not entirely successful, results.

Leila’s Brothers – first-look review

By David Jenkins

Saeed Roustayi’s panoramic melodrama of a poverty-stricken Tehran family in the midst of disintegration is a knockout.

Paris Memories – first-look review

By Hannah Strong

Alice Winocour draws on her brother’s experiences of the 2015 Bataclan attack to create a drama about recovering from trauma.

Fogo Fatuo – first-look review

By Charles Bramesco

A man on his deathbed recounts his youth as a firefighter in João Pedro Rodrigues’ striking queer feature.

Domingo and the Mist – first-look review

By Ryan Coleman

A Costa Rican man resists attempts to destroy his home in director Ariel Escalante Meza’s mystical drama.

Love According to Dalva – first-look review

By Alexandria Slater

Emmanuelle Nicot paints an achingly beautiful portrait of friendship, recovery and identity through a young girl’s sexual abuse story.

Tori and Lokita – first-look review

By Mark Asch

The Dardenne brothers return with a harrowing story of human trafficking in Belgium, centring on two young migrants.

The Silent Twins – first-look review

By Hannah Strong

Letitia Wright and Tamara Lawrance star in Agnieszka Smoczyńska’s ambitious but flawed biographical feature.

De Humani Corporis Fabrica – first-look review

By David Jenkins

Verena Paravel and Lucien Castaing-Taylor’s humanist portrait of care, surgery and technology is one of the highlights of Cannes 2022.

Sick of Myself – first-look review

By Hannah Strong

A narcissistic couple engage in a constant game of one-upmanship in Kristoffer Borgli’s disappointingly one-note feature.

Crimes of the Future – first-look review

By Hannah Strong

David Cronenberg’s return to filmmaking can’t quite deliver on its promise that surgery is the new sex.

Funny Pages – first-look review

By Hannah Strong

A teenage cartoonist searches for authenticity in writer/director Owen Kline’s pleasingly grubby debut feature.

Moonage Daydream – first-look review

By Ed Gibbs

This multi-sensory look at David Bowie’s life and career is an all-consuming affair that explores and safeguards the man’s legacy.

Decision to Leave – first-look review

By Hannah Strong

A police detective forms a dangerous bond with a woman suspected of murdering her husband in Park Chan-wook’s swooning crime drama.

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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.

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