The Film Comment Letter

Sunrise: Pietro Marcello’s latest, Scarlet is a tender, sumptuous fairy tale which exemplifies the director’s deft straddling of documentary and fiction, realism and illusionism

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

Perspective shift: history was retold and resold at this year’s Cannes, in films like Martin Scorsese's Killers of the Flower Moon, Lisandro Alonso's Eureka, Alice Rohrwacher's La chimera, and others

If dogs run free: Jessica Kiang offers a canine-centric overview of the fest as it approaches its end, sniffing around Aki Kaurismäki’s Fallen Leaves, Rodrigo Moreno’s The Delinquents, and more

Chasing waterfalls: the Argentine filmmaker discusses his new tripartite feature, a festival highlight that seamlessly blends narrative and documentary elements

Picture book: this year’s festival kicked off with a swirl of controversy and a dud opening night film, before finding its footing with films like Catherine Corsini’s Homecoming, Cédric Kahn’s The Goldman Case, and others

Rocky road: in addition to a strong retrospective program, this year’s edition was highlighted by understated Competition winners From You and There Is a Stone.

Smoke gets in your eyes: Robert Altman’s jazz-infused noir finds the late legend Harry Belafonte in a role that slyly inverts his public persona as a committed and compassionate activist

Watch it grow: the final entry in Paul Schrader’s “lonely man” trilogy is less about race than it is about broad-strokes ideas of freedom

I Can Has Cheezburger: the artist duo discuss their latest mash up of pop-culture touchstones, a surprisingly perceptive analysis of the political and cultural moment