Jonathan Romney

Danse macabre: Juraj Herz's bracingly modern, anti-realist film lies on the delicate border between horror and social satire

Conversational divide: Sameh Zoabi’s comedy engages with questions of history, politics, and cultural difference—and similarity

Calling the shots: Rob Nilsson’s 1996 atmospheric pool-hall drama is a crackling gem

Memory loss: Radu Jude's latest contends with the ways in which recreating the past can obscure history's meaning

Disappearing act: thinking you know where you are with Benjamín Naishtat’s latest can lead you up the wrong path

True love leaves no traces: Nick Broomfield’s documentary reflects on the complex relationship between an artist and a muse

An easy game to play: is Danny Boyle's alternate-reality tale of a world without Beatles more than a clever conceit?

Infinite regress: Peter Parlow’s curious micro-budget provocation offers plenty to chew over

Democratic vistas: Kirill Mikhanovsky’s film is relentless and exhausting—but it’s also a joyous, tender blast

Behind the desk: as a film about the business of comedy, Late Night is not that funny

Can you feel the love: the Elton John biopic is a cannily honed machine, like a flawlessly staged Broadway show

Cops and robbers: with his latest, a film policier, Arnaud Desplechin explicitly comes to terms with the world, in a very personal way

It takes a village: though ungainly and sometimes ugly, there‘s a lot to admire in Kleber Mendonça Filho and Juliano Dornelles‘s Cannes entry

Leather and lace: it’s unlikely that many will be scandalized, pleasurably or otherwise, by Abel Ferrara’s tribute to the late Italian filmmaker

Meeting of minds: Werner Herzog's film tends to present the world leader as a cuddly, jolly uncle among politicians

Stray Dogs master Tsai Ming-liang pushes into the virtual realm and the great beyond

Disappearing act: the Lebanese film could be called a speculative documentary, an essay film, or a conceptual art piece

In dreams: Bi Gan's noir fable abandons narrative transparency in favor of a poetic dream logic

Home on the range: Emma Tammi's new movie blends horror and Western genre elements, not always successfully

Not dark yet: Kent Jones's Diane is an altogether sober film, a drama about ageing that is nothing less than ice-water unsentimental