There’s potential for vice in the leitmotif of Ulrich Seidl’s [...]

For the Bondurant gang, purveyors of apple brandy in the depression-era south, legend--their own, that is--is the stuff that makes the world turn; their illegal business thrives on it. That they are viewed as invincible by foes helps keep the deck stacked in their favor and keeps the moonshine dollar flowing in, the occasional shootout with a rival notwithstanding. When Forrest (Tom Hardy), the eldest of the Bondurant brothers gets

The Un Certain Regard (U.C.R.) program was officially launched during [...]

Judging from the line of people waiting to get into a still-closed Théâtre Lumière (seating capacity: 2,281) at 7:45 this morning the anticipation was high for Jacques Audiard’s return to the Croisette, “Rust and Bone.” It was in this same theatre that three years ago we discovered the history- and career-making “A Prophet,” one of the best films made in the last twenty years. One can’t help wondering if the self-effacing Audiard felt any sort

There are a million stories to be told from post-revolutionary Egypt but they won’t be told by an Egyptian filmmaker. The narrative of Yousry Nasrallah’s “After the Battle” which he wrote himself and which will have its premiere today in Cannes, held promise: as Egypt is still in the throes of revolutionary fervor an unlikely alliance forms between two people from different ends of the social spectrum who, under normal circumstances, might

If Standard & Poor’s assessed film production values Wes Anderson would remain a AAA-rated cineaste year in and year out. The level of detail that went into every square inch of “Moonrise Kingdom,” which had its premiere here in Cannes a few hours ago, is above perfection. But “Moonrise” fails on other levels. Adult characters wretchedly watch as their kids go about resolving the problems of their day (only to finally prevail, at the very

What would the Cannes Festival be without a little fracas? Some kind of polemic has been making the rounds of the French media this week concerning the lack of women filmmakers in the official selection at the Cannes Festival--twenty-two films, by male directors all, are vying for awards this year. Things turned nasty when Virginie Despentes, Fanny Cottençon, and Coline Serreau (a screenwriter-director, actress and director respect-