There’s what goes on in the film biz and then there’s what really goes on in Tinseltown. That’s what documentary filmmaker Marina Zenovich (director of last year’s “Lance,” about disgraced biker Lance Armstrong) was seeking to get at with her new film, “What Happens in Hollywood.”

The documentary, which is now available on Roku, shows women, and some men, speaking candidly about the sexism and misogyny that is absolutely baked into the film industry, and has been since its founding by a group of rich men a century ago.

BENTONVILLE, Ark.—Among Geena Davis’s goals for the Bentonville Film Festival is the inclusion of lesser-heard voices. The films at this year’s iteration of the festival here in northwest Arkansas certainly align with that dictum.

Among the films I watched l this week was “Waikiki,” a drama about a native Hawaiian woman’s struggles with employment, her boyfriend and family.

Filmmaker Auden Lincoln-Vogel was in Cannes this year in support of “Bill and Joe go Duck Hunting,” which he's written and directed.

In “Bill and Joe Go Duck Hunting,” a slow and contemplative film that was a part of the Cinefondation program, two friends go on a duck hunting expedition and much vexation ensues, the great outdoors the setting for an oppressive “huit-clos” film that's punctuated by awkward silences and dark humor.

Cinema is now synonymous with these two words: Julia Ducournau. She is the director of "Titane," a film, all savagery and tenderness, that won the Palme D'Or last night at the Cannes Festival here in France. Why these two words? Because contemporary cinema heretofore takes risks and it's prothean and it's in step with the times and it pays tribute to its past and I can't think of a better incarnation for it right now than her, so say her name, Julia Ducournau.

CANNES, France - Ethics and civility are not synonymous with honor but it’s generally understood, by most, that if you adhere to an ethical and civil conduct in life, honor will naturally flow from it. The idea of honor endures more or less overtly in Iranian society, and Asghar Farhadi’s new film “A Hero” thrives on it as leitmotif. The honor of one man, a painter calligrapher, crushed by debt after a business venture goes south. The honor of those

CANNES, France - A passing of the torch, of sorts, happened this year in Cannes, quietly: Jafar Panahi, high priest of Iranian cinema, bestowed the title upon his son (figuratively, of course). The Panahi name also became synonymous with a film dynasty, the counterweight, if one were to unseriously look at world cinema as a congeries of fiefdoms, to the House of Makhmalbaf.

Panahi, whose films

CANNES, France – Filmmaker Schlomi Elkabetz made a documentary “Les [...]