A power struggle begins after the death of the grand imam at a prestigious Cairo university in Tarik Saleh’s conventional drama.
By Mark Asch
A donkey in a travelling circus grapples with cruel fate in Jerzy Skolimowski’s strangely captivating drama.
Mark Jenkin’s follow-up to 2019’s beloved Bait is the haunting tale of lonely botanist that offers audiovisual thrills a-plenty.
Léa Seydoux plays a struggling single mother in a drama that’s not to Mia Hansen-Løve’s usual lofty standards.
Marie Kreutzer’s brilliant portrait of a woman on the brink is a refreshing take on the often tedious period drama concept.
A young boy navigates family and friendship during a time of social upheaval in James Gray’s tender semi-autobiographical latest.
Felix van Groeningen and Charlotte Vandermeersch's is a poignant study of the friendship between two young men across four decades.
Emily Watson and Paul Mescal enter into a battle of mother-son wills in this gorgeously-mounted but unoriginal Irish thriller.
By Mark Asch
Kirill Serebrennikov focuses on the relationship between one of Russia’s greatest composers and his adoring, but unloved, partner.
Michel Hazanavicius comes up short in his underpowered remake of Shinichirou Ueda’s zom-com, One Cut of the Dead
Pietro Marcello adapts Alexander Grin’s fairy tale about a poverty-stricken family with breathtaking results.
Some of the best nuggets of glitz and scandal throughout the history of the most famous international film festival.
They’ll be joined by fellow luminaries Alex Garland and Pietro Marcello when the Quinzaine returns to Cannes next month.
This year’s stacked line-up also includes new work Kelly Reichardt, Ruben Ostlünd and Park Chan-wook – but no David Lynch.
A handful of big names — Elvis! George Miller! Tom Cruise! — have been locked in prior to the official selection.
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.
Justin Kurzel’s difficult drama about a notorious mass murderer falls into familiar pitfalls of the true crime genre.
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.
