Cannes Film Festival 2017 – all our coverage

Generation gap: Cannes 2017’s prize-winning short films

The three award-winning shorts at Cannes all told stories about the distance between parents and children, and revealed some exciting directorial talent to watch, writes Laurence Boyce.
Sunday 11 June 2017

Six films by new and emerging female filmmakers at Cannes 2017

The competition may have been lacklustre overall but that wasn’t the case elsewhere at Cannes, where the sidebars were brimming with great films by first- and second-time female directors, reports Isabel Stevens. Distributors take note!
Friday 2 June 2017

Ruben Östlund’s The Square wins the Palme d’Or: complete Cannes 2017 awards and comment

Pedro Almodóvar’s jury divided its prizes across a generally deserving spread of films from the likes of Lynne Ramsay, Sofia Coppola and Robin Campillo – as well as giving top honours to Sweden’s rising talent Östlund. It would be churlish to carp, says Nick James.
Sunday 28 May 2017

What should have won the 2017 Cannes Palme d’Or?

With the partial exception of Lynne Ramsay’s You Were Never Really Here, there was no consensus amongst our critics on the Croisette.
Sunday 28 May 2017

Gallery: 70 years of the Cannes Film Festival

Cannes is known for its red-carpet carnival, but look a little beyond it and there are some remarkable photographic pickings to be found from throughout the film festival’s 70-year history.
Friday 26 May 2017

Cannes 2017 midway round-up: the best and worst of the first week

Nick James on the hits and misses of the Competition so far, including Michael Haneke’s Happy End, Valeska Grisebach’s Western and Andrey Zvyagintsev’s Loveless.
Tuesday 23 May 2017

Chamber trouble: Tom Benn on scripting his first short, Real Gods Require Blood

Manchester-born and -blooded crime writer Tom Benn tells Michael Pattison about the cinema that influenced his screenplay for a kitchen-sink horror set during the satanic abuse panic of the early 1990s, which premieres at the 2017 Cannes Film Festival.
Friday 19 May 2017

Cannes 2017 preview: Pleasures of the fresh

Some new names alongside the regulars, a renewed interest in politics, and a bunch of thrillers: Cannes 2017 looks like a cracker, says Nick James.
Tuesday 16 May 2017

120 Beats per Minute (BPM) review: queer lives honoured

Robin Campillo’s drama gives life, joy and distinction to the struggles of France’s Act Up AIDS activists of the early 1990s, says Caspar Salmon.
Saturday 27 May 2017

Good Time review: Robert Pattinson careens the Safdies’ mean streets

Pattinson’s lone sibling desperado rampages nocturnal New York in Benny and Josh Safdie’s streetish 70s-throwback bungled heist thriller, writes Michael Leader.
Saturday 27 May 2017

You Were Never Really Here review: Joaquin Phoenix storms Lynne Ramsay’s kidnap thriller

A bulked-up Phoenix carries the weight of the world into nightmarish terrain in Ramsay’s hardboiled, sharp-edged, audacious adaptation of Jonathan Ames’s novel, says Jonathan Romney.
Saturday 27 May 2017

12 Days review: Raymond Depardon’s heartbreaking insight into psychiatric care

This remarkable documentary lays bare the decision-making process at a hospital in France, where four judges determine who gets to leave and who must stay. Geoff Andrew reviews.
Friday 26 May 2017

Claire’s Camera and The Day After review: two poles of the Hong Sangsoo affair

The prolific South Korean has two films at Cannes. Both tackle marital infidelity and its consequences, but one is black-and-white and sombre, the other more flighty, with an enigmatic turn from Isabelle Huppert, writes Giovanni Marchini Camia.
Friday 26 May 2017

Redoubtable review: irreverent riff on Godard in ’68

Michel Hazanavicius’s nouvelle vague romcom re-enacts the affair between an angst-ridden Jean-Luc Godard and ingenue actress Anne Wiazemsky. It’s far from respectful, but few cinephiles will be able to resist its knowing humour, writes Jonathan Romney.
Friday 26 May 2017

The Meyerowitz Stories (New and Selected) review: bittersweet and brutal stories of family life

Noah Baumbach’s latest is a thematic, mature sequel to his breakthrough The Squid and the Whale, with Dustin Hoffman at the head of a dysfunctional brood of New York intellectuals, writes Michael Leader.
Thursday 25 May 2017

Jeune Femme review: furious moments in an unruly life

Laetitia Dosch plays an impulsive, newly single young woman adrift in Paris in this enjoyably chaotic, picaresque character study, the feature debut by Léonor Serraille, writes Sophie Monks Kaufman.
Thursday 25 May 2017

24 Frames review: Abbas Kiarostami’s living, parting miniatures

Mementos of the late master’s increasingly minimalist poetics, these short experiments in animating photographs and a painting teem with life’s magic and mysteries, says Geoff Andrew.
Wednesday 24 May 2017

The Beguiled review: Sofia Coppola gives her women shelter from the war

Switching focus from the fugitive wounded Union soldier of Don Siegel’s 1971 Clint Eastwood vehicle to the commune of women amongst whom Colin Farrell’s equivalent finds a haven, Coppola’s new take burnishes a vision of hard-won female autonomy, says Isabel Stevens.
Wednesday 24 May 2017

The Florida Project review: a happy film about an ugly world

Sean Baker’s energetic, candy-coloured followup to Tangerine traces a fiery six-year-old girl’s progress through the rundown motels housing poor families in the shadow of Disney World, writes Isabel Stevens.
Wednesday 24 May 2017

Happy End review: Michael Haneke hosts a family blowout

Corrupted by privilege, technology, teen anomie and other engines of psychosis, a fissile upper middle class family brings out the dark wit in the Austrian master, says Jessica Kiang.
Monday 22 May 2017

Jupiter’s Moon review: a refugee takes super-flight

Kornél Mundruczó’s have-a-go superhero spin on Europe’s refugee crisis gives wings to a Syrian migrant martyred in Hungary, but doesn’t have the wherewithall to make the idea fly, says Michael Leader.
Sunday 21 May 2017

The Square review: a lofty, laboured lecture on inequality

With his follow-up to Force Majeure, Ruben Östlund returns to the mocking tableau style of his earlier movies with a satire of middle-class complacency and pretension that’s much less than the sum of its best sections, says Giovanni Marchini Camia.
Sunday 21 May 2017

Let the Sunshine In review: Juliette Binoche rings love’s changes

In Claire Denis’s low-key rondo, archetypal romantic situations elicit subtle yet surprising transformations in the character of Binoche’s newly divorced painter as she returns to the romantic fray, writes Nick James.
Saturday 20 May 2017

Faces Places review: Agnès Varda and JR big up the country byways

Serendipities fly as cinema’s greatest gleaner goes rambling in the cine-van of magnum muralist JR, and pits her memories against her thirst for new faces, writes Isabel Stevens.
Saturday 20 May 2017

Loveless review: Andrey Zvyagintsev finds resonances in a Russian family falling apart

The Russian director’s fifth feature is an enigmatic, and very rewarding, film about a missing child, a dissolving marriage and a country in crisis. At its best, it’s cinematic poetry, writes Geoff Andrew.
Saturday 20 May 2017

Wonderstruck review: Todd Haynes’s split-era kids’ yarn provides sumptuous but saccharine cinephilia

Haynes’s adaptation of Brian Selznick’s twin-track children’s detective adventure revels in the eloquence of silent cinema and gorgeous evocations of vintage New York, but falls dramatically flat, writes Sophie Monks Kaufman.
Friday 19 May 2017

Western review: once upon a time in modern-day eastern Europe

Valeska Grisebach’s stunning existential study of masculinity tips its hat to classic genre cinema even as it casts an extraordinary troupe of non-professional actors as its grizzled migrant construction workers in a foreign land, writes Giovanni Marchini Camia.
Friday 19 May 2017

Okja review: Bong Joon-ho’s rampant superpig spectacle tickles and troubles

With Tilda Swinton in a dual role leading a mostly excellent cast, the Host director’s snazzy science fiction succeeds as both a critique of the modern meat industry and a bittersweet tale of the bond between a girl and a mighty beast, writes Trevor Johnston.
Friday 19 May 2017