Olivia Colman, Rachel Weisz and Emma Stone play pointless power games in Yorgos Lanthimos’s baroque and profane regal romp that runs out of steam far too soon, writes Giovanni Marchini Camia.
A before-and-after-the-wipeout portrait of an alienated news cameraman who suddenly finds himself alone and thriving, Ulrich Köhler’s social critique is horrifying, hilarious and deeply humane, writes Giovanni Marchini Camia.
Jia Zhangke explores the masculine codes of his previous work in this ravishing, self-referential film about a woman in love with a mobster, with an astonishing lead performance from Zhao Tao, writes Giovanni Marchini Camia.
Wang Bing’s harrowing, eight-hour documentary explores a long suppressed, and utterly horrific, chapter of China’s history, writes Giovanni Marchini Camia.
16mm vagabonds Ben Rivers and Ben Russell get dialectical with digital artist Peter Burr, a round-table gathering of cultural bluestockings and a green-screen leotard, notes Giovanni Marchini Camia.
Hu Bo’s film about people folding under economic pressure is an intimate and empathetic portrait of human suffering, with performances of astounding sensitivity, writes Giovanni Marchini Camia.
The German director’s follow-up to Phoenix shadows a runaway from the Third Reich in modern-day Marseille to conflate the continent’s moral failings past and present, says Giovanni Marchini Camia.
Corneliu Porumboiu’s portrait of his eccentric childhood friend with big dreams of reinventing soccer is hilarious, heartbreaking and pleasingly subtle, writes Giovanni Marchini Camia.
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.