Across a century of silence, the hidden loves of gay men in Spain converge in a story that history tried to bury. Starring Guitarricadelafuente and Penélope Cruz. In Competition.
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‘The Black Ball’ Cannes Review: An Overlong Tribute To Gay Spain That Drowns In Its Own Solemnity
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‘A Man Of His Time’ Cannes Review: Emmanuel Marre’s Chilling And Eerily Contemporary Study Of Everyday Complicity
A Vichy bureaucrat’s quiet, self-serving complicity in Nazi-occupied France becomes a mirror for our present moment of political cowardice. Starring Swann Arlaud. In Competition.
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‘Ulya’ Cannes Review: The Unlikely Origin Story of Basketball’s Forgotten Giant
A towering teenage girl from rural Latvia discovers basketball — and herself — in 1960s Soviet Union. Un Certain Regard.
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‘Once Upon A Time In Harlem’ Cannes Review: The Harlem Renaissance Document William Greaves Never Finished Is Worth The Wait
In 1972, filmmaker William Greaves gathered the last survivors of the Harlem Renaissance for one final reunion — and kept the cameras rolling. Directors’ Fortnight.
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‘The Man I Love’ Cannes Review: Ira Sachs Finds Beauty And Resilience In The Shadow Of The AIDS Crisis
In 1980s New York, a celebrated actor living with AIDS rehearses a new show while his tight-knit artistic community rallies around him. Starring Rami Malek and Tom Sturridge. In Competition.
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‘Che Guevara: The Last Companions’ Cannes Review: A Guerrilla Escape Across Bolivia
Three Cuban guerrillas retrace their escape after Che Guevara’s death, revealing an epic survival story shaped by war, memory, and geopolitical maneuvering.
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‘Red Rocks’ Cannes Review: Bruno Dumont’s Warmest Film Yet Is A Sun-Soaked Ode To Childlike Wonder
The French director turns his camera on a group of five-year-olds roaming a sun-drenched French Riviera town, entirely on their own. In Directors’ Fortnight.
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‘Titanic Ocean’ Cannes Review: A Surreal Dive into Desire and Identity
A young woman enrolls in a Tokyo mermaid academy, where fierce competition, desire, and a mysterious accident blur the line between reality and fantasy.
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‘Death Has No Master’ Cannes Review: Asia Argento Commands This Brooding But Slow-Burning Postcolonial Western
A European woman’s bid to sell her Venezuelan inheritance ignites a brutal postcolonial standoff between two irreconcilable worlds. Directors’ Fortnight.
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‘I See Buildings Fall Like Lightning’ Cannes Review: Clio Barnard Returns With A Raw And Vital Portrait Of Working-Class Birmingham
Friendship holds five Birmingham twentysomethings together as class, money, and bad decisions threaten to pull them apart. In Directors’ Fortnight.
