Features

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

Feeling seen: Ninja Thyberg’s Pleasure is an honest, witty, and insightful telling of the everyday life of an aspiring porn star

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

Let’s get physical: the new RRR is an epic showcase for Indian blockbuster master S.S. Rajamouli’s blending of history and myth

Fading light: Gaspar Noé's latest provocation, Vortex, is an unflinching, exhilarating look the ravages of decline and death

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

Tangled web: with The Girl and the Spider, the Zürcher brothers craft a formalist fable of Surrealist uncanny and combustible yearning

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.

Run it back: a renewed interest in reenactment in documentary foregrounds two historically sidelined aspects of nonfiction cinema: performance and authorship