Flying high: the last few days of Cannes contained many of this year’s high points, including Kelly Reichardt’s Showing Up, Albert Serra’s Pacifiction, and David Cronenberg’s Crimes of the Future
Not dark yet: our man in Cannes weighs in on the fest at the midpoint, highlighting Park Chan-wook’s Decision to Leave, Jerzy Skolimowski’s EO, Cristian Mungui’s R.M.N., and more
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
Against interpretation: with its maze-like narrative and nightmare-inducing imagery, David Lynch’s epic Inland Empire is so much more than a puzzle to be solved
Disappearing act: This year’s recipient of the Chaplin Award is an actress whose nearly superhuman versatility is matched by the consistency of her craft
Taken for a ride: Jenkins’ moving image work artist incisively analyzes how images—in film, TV, advertising, and the media landscape—set limits on the possible.
