Cannes Report
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Good Morning, Cannes: From Bloody Fun to Bloody Schlock
Jim Jarmusch's vampire movie "Only Lovers Left Alive" wins over the critics, but can it possibly be as entertaining as the marketplace title "FDR American Badass?"
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Cannes Deal Wrap: Weinstein Co., Lionsgate Score Sunny Sales at Rain-Drenched Market
Film financiers reported a strong market at Cannes this year
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Cannes: Critics All Over the Map on James Gray’s ‘Immigrant’ but Love Marion Cotillard
The period drama is either a wrenching masterpiece or a gloomy melodrama, depending on who you ask
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‘Only God Forgives’ Director Responds to Boos of His Ryan Gosling Thriller
Cannes: Nicolas Winding Refn defends the heavily criticized film saying, "Art is meant to divide"
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Cannes: French Comedy ‘Me Myself and Mum’ Tops Directors’ Fortnight
Clio Barnard's "The Selfish Giant" also wins prize in independent section at Cannes
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Cannes: Jerry Lewis Skewered for Latest Bad-Taste, Sexist Remarks
The octogenarian comedian still doesn't think women are funny — then made matters worse by saying his favorite female comics were Cary Grant and Burt Reynolds
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Cannes: Student Films From Chicago, Belgium Win Cinefondation Prizes
Top award in student film competition goes to "Needle"; Jane Campion's jury also chooses shorts from Romania and the Czech Republic
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Good Morning, Cannes: Father Figures, Funny Men and Teen Lesbians
Alexander Payne's "Nebraska" Jerry Lewis likes his comics male and "Blue Is the Warmest Color" gets the critics all hot and bothered
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Cannes: IFC Buys North American Rights to ‘The Selfish Giant’
Clio Barnard fable premiered at Directors’ Fortnight
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Hitman Drama ‘Salvo’ Wins Critics’ Week Prize at Cannes
Fabio Grassadonia and Antonio Piazza film is chosen tops in a field of seven features from first- and second-time directors
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Cannes Review: In ‘Nebraska,’ Alexander Payne Paints an American Life
Bruce Dern delivers a sweet rendering of old age in Payne's most personal film, and one of his best
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Good Morning, Cannes: Robert Redford’s All Wet, and So Is the Fest
As the rain starts up again, Redford gets a lengthy ovation for J.C. Chandor's wordless lost-at-sea drama
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Cannes Review: Robert Redford’s Actions Speak Much Louder Than Words in ‘All Is Lost’
Redford gives a moving performance as a man lost at sea in J.C. Chandor's almost dialogue-free follow-up to "Margin Call"
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Cannes: Top French Filmmaker Olivier Assayas to Make First U.S. Film
Sundance Selects has acquired a lesbian romance