Manu Yáñez Murillo

Mirror mirror: though questionable marketing decisions and technical snafus abound, the early days of Cannes 2022 have nonetheless delivered on the promise of genuine cinematic thrills

Birth of tragedy: the search for truth, both personal and historical, is the driving force of Parallel Mothers, Pedro Almodóvar’s most openly political film to date

End of the road: Our final overview of the fest that was touches on Memoria, Red Rocket, Nitram, and more

More than words: the subtitler of Godard, Assayas, and others talks about the process in this accompaniment to our May-June 2020 Art and Craft article

In Serra’s explicitly imagined Liberté, an 18th-century cruising ground hosts fickle and fearsome games of desire

Abel Ferrara’s elegy to his master mourns the tragic loss of a political artist in full creative bloom

Borderlands: Karelia: International with Monument portrays an ancient culture being crushed by a repressive state

Time regained: Almodóvar’s latest is a heart-rending, meditative, and deeply confessional culmination of his prolonged immersion in the waters of autofiction

Guns, drugs, and steel: tradition clashes with a brazen modernity in a new film from Ciro Guerra and Cristina Gallego

In Happy as Lazzaro’s time-tripping parable of an innocent adrift, Alice Rohrwacher continues to shine a light into the darkness of modern times

(Carla Simón, Spain, Oscilloscope, Opening May 25)

(Intermedio, €49.95)

(Àlex de la Iglesia, Spain, 2010)

In conjunction with the "An/Other Spanish Cinema: Film in Catalunya, 1906–2006" series at Walter Reade, Manuel Yáñez Murillo gives a personal retrospective of the region's offerings

Carlos Saura’s 50-year career looms large in modern Spanish cinema