A Jim Jarmusch movie is rare and mysterious. Today in Cannes his latest film “Only Lovers Left Alive” starring Tilda Swinton, Tom Hiddleston, Mia Wasikowska and Anton Yelchin was shown as a part of the competition program.

“Lovers” is your average love story between centuries-old people (Swinton and Hiddleston). One lives in Detroit and the other, Tangier. Jarmusch threw in

The Cinéfondation and Short Films Jury headed by Jane Campion [...]

In the sixteenth century in the Cevennes region of France, a horse dealer by the name of Michael Kohlhaas leads a decent family life. When a lord treats him unjustly, he launches war.

If the opening score of “Michael Koolhaas” makes this competition film sound like “Conan the Barbarian,” you’ve been misled. This action drama set in the Middle Ages is a demanding and intellectual work--more cerebral and poignant than entertaining--on the themes of order and morality. Michael Kohlhaas—performed by a more-iconic-than-ever Mads Mikkelsen—is not one to be done in by an operetta baron. So when he must arbitrarily leave two of his horses as a deposit only to recover them later in a sorry state and discover that his servant has been attacked by dogs, he embarks on a mad crusade against the justice (or rather injustice ) of the powers-that-be.

With his new film “Manuscripts don’t Burn” (the title seems to have been taken from Mikhail Bulgakov's novel "The Master and Margarita") currently being shown in the non-competition program Iranian filmmaker Mohammad Rasoulof, who came to Cannes to show the film today along with the cast, is raising the bar for Iranian filmmakers: rather than bypassing political content he's confronting Iran's regime without

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Alexander Payne's new film "Nebraska," a melancholy road movie shot in black and white with some hilarious moments, is a worthy contender for a Grand Prix or a Jury prize. And yet, to say that I was less than enthusiastic going to the 8:30 screening of this film is an understatement: I wasn't a fan of "The Descendants" and a black and white movie, well, it's a risky proposition for any film.

Finally a discovery at the Cannes Festival that’s worth getting all worked up about: “Blue is the Warmest Color,” or, as the original title, “La Vie D’Adèle.” Three hour-long film is a bright gem and a contender for the top nod at this otherwise tepid Cannes selection. "Blue," starring newcomer Adèle Exarchopoulos and Léa Seydoux and directed by Abdellatif Kechiche, is my choice for this year’s Palme D’or, with five films still remaining to be screened in the competition section. But with Steven Spielberg as president of the jury