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The High Times and Hard Fall of Carl Laemmle Jr.

By Farran Smith Nehme

May 27, 2016

Justice for junior: on the privileged and piteous life of the father of Universal horror

Cannes Dispatch #4: Risk & It’s Only The End of the World

By Eugene Hernandez

May 19, 2016

In jeopardy: on Laura Poitras's latest polemic and Xavier Dolan's claustrophobic adaptation of It’s Only the End of the World

Cannes Dispatch #3: Julieta and Aquarius

By Eugene Hernandez

May 17, 2016

Revolutionary stories: on Pedro Almodóvar’s Alice Munro adaptation, Kleber Mendonça Filho's latest, and a red carpet protest

Excerpt: Straub and Huillet Go to the Museum

By Film Comment

May 17, 2016

State of the art: a letter by Danièle Straub-Huillet recounts the careless and destructive attitudes towards conservation of paintings and historical documents

Cannes Dispatch #2: American Honey, Toni Erdmann, and Women in Motion

By Eugene Hernandez

May 16, 2016

Who runs the world? On the festival's attempts to address gender disparity in the industry and two standout films by female directors

Cannes: Toni! Toni! Toni!

By Amy Taubin

May 16, 2016

Parental guidance suggested: on Maren Ade's screwball comedy Toni Erdmann, which achieves true greatness—and then some

Critical Care: Dr. Frederick Wiseman

By Matt Morrison

May 13, 2016

A doctor reflects on the views of medical treatment offered in Titicut Follies, Hospital, and Near Death

Representation + Belladonna of Sadness

By Violet Lucca

May 12, 2016

From reverence to rape: parsing the form and function of a provocative, newly restored cult animation classic

Dissident Voices: Post-Revolutionary Cuban Cinema

By Alejandro Veciana

May 6, 2016

A road map to the wide-ranging styles of—and official responses to—contemporary Cuban film

Too Late for Tears (1949) + Woman on the Run (1950)

By Farran Smith Nehme

May 6, 2016

Can't help it: two rescued and refurbished noirs that showcase femme fatales Lizabeth Scott and Ann Sheridan