Dennis Lim

Boo: premised on illusion and promising endless reanimation, cinema is often called the ghostliest of mediums, haunted by phantoms since its beginnings

Finest worksong: documentarian Wang Bing discusses his two Cannes entries—the typically expansive Youth (Spring), and Man in Black, a briefer, but equally dense portrait of a composer

Time and again: in an excerpt from his new monograph, Tale of Cinema, Dennis Lim grapples with the conceptual challenges of both writing about and programming the films of Hong Sangsoo

Reflecting on an unwieldy decade in film, from the ground up

A prize-winning triumph at Cannes, Mati Diop’s Dakar-set debut feature Atlantics confirms an oeuvre of elemental immediacy and dreamlike exile

A reckoning with Argentine director Mariano Llinás’s marathon movie of the moment, an opus of various tones, genres, and cinematic madeleines

Vast carelessness: the Korean director's beguiling drama of lives led astray will be the one to endure from this year's edition of the festival

With Long Day’s Journey Into Night, Bi Gan mesmerizes again with a virtuosic noir trip where experience and dreams become one

Bending the rules: with the frenzy of Cannes in the rearview mirror, a few films reward consideration for their thoughtful reinventions

Last man on earth: the director of the quietly apocalyptic In My Room talks about embracing genre conventions and the Pet Shop Boys

The fruits and frustrations of labor were on display at Cannes

Five Cannes standouts took different approaches to getting the whole story

Two 21st-century trailblazers stole the festival’s thunder

Three up-and-comers trump the usual suspects

Outsiders with murder on their minds stole the show this year