Bertrand Bonello shuffles privilege and oppression in this brooding high-concept horror experiment that shadows the study of a Haitian teenager at an elite modern-day Parisian girls’ school with a zombie wandering his 1960s homeland, writes Giovanni Marchini Camia.
Absconding from his melancholic-minimalist comfort zone, the Romanian talent surfaces in La Gomera with his fallen Police, Adjective anti-hero for a series of somersaulting film noir variations that leave character and narrative engagement in the dust, says Giovanni Marchini Camia.
It wasn’t to be the second year a female director won Cannes’s top prize, but our contributors certainly fancied it as much as Bong Joon-ho’s Parasite. Isabel Stevens introduces thoughts from ten of our contributors.
In Noé’s blitziest blitzkrieg yet, Beatrice Dallé and Charlotte Gainsbourg play an embattled film director and her star preparing a witch-burning scene. Then Noé unleashes a proper meltdown, writes Giovanni Marchini Camia.
Nadav Lapid’s boldly unsubtle allegory unsettles the audience’s understandings almost as aggressively as he does the political binaries of his young expat protagonist made over in a supposedly cosmopolitan Europe, says Giovanni Marchini Camia.
Carlos Reygadas lays bare masculine pathology with a typically bravura and extraordinarily unsparing dissection of love and marriage, casting himself and his spouse Natalia López at the heart of the piece, writes Giovanni Marchini Camia.
Set in the analogue milieu of a digitally discombobulated Parisian media couple, Olivier Assayas’s latest pulse-of-the-times drama falls back to old-school 16mm and a lot of old-hat debates over the page versus the pixel, writes Giovanni Marchini Camia.