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Director Vincent Maël Cardona uses western Europe in the early-1980s as the canvas upon which he paints his layered and achingly genuine portrait of young love, familial bondage, artistic aspiration, and universal chaos. Unburdened by a firm connection to any one genre or narrative archetype, “Magnetic Beats” tells a simple story with a full arsenal of source music, thoughtful set design, and crisp acting at all levels to pull off this love letter to a particular moment in time.

French cinema’s favorite enfant terrible is back at the Cannes Film Festival. Gaspar Noé returns to the French Riviera with his latest film, “Vortex,” to premiere out of competition this week in the Cannes Premiere section.

Bruno Dumont’s peculiar blend of the transcendental with a clumsy kind of realism was a natural fit to “Jeannette” and “Joan of Arc,” both films dealing with the same presumed miracle — an ordinary little girl claiming to be guided by Saints.

Hazel Moder has officially made her red carpet debut!Julia Roberts' 16-year-old daughter attended the premiere of during the 74th Cannes Film Festival in Cannes, France, looking adorable as she posed on the red carpet alongside her father, Danny Moder. Julia and Danny are also parents to Hazel's twin brother, Phinnaeus, and 14-year-old son Henry.Hazel went '90s chic in a butterscotch yellow button-up lace shirtdress with black Mary Janes, while Danny sported a classic black tux to promote his

It’s a good thing you can’t catch a virus from an image because if you could, just a few frames of Kirill Serebrennikov‘s fabulously yeasty, bilious, dank Competition title, “Petrov’s Flu” would bring all of Cannes‘ anti-Covid measures to naught.

A man asks the first woman who enters the room to marry him and then is surprised to find she does not respect him. This sums up “The Story of My Wife” from Hungarian director Ildikó Enyedi, playing in Competition at this year’s Festival de Cannes.

Tatiana Huezo’s eye for lyrical truth has materialized in documentaries like “Tempestad” or “The Tinniest Place,” works that penetrate some of the most tenebrous corners in recent Latin American history with shimmering compassion. Her stance as an acute observer of the people that survive and persevere through tumultuous sociopolitical and economically disadvantaged contexts produces thought-provoking filmic meditations.

In one scene of Apichatpong Weerasethakul’s “Memoria,” Jessica (Tilda Swinton) and a friend browse refrigerated cabinets designed to preserve flowers. “In here, time stops,” the saleswoman says proudly, gesturing at the blue cupboards.

Few films have accurately captured the definitive Millennial experience—lovelorn, cash-strapped, self-absorbed, and tech-addicted—though a few have tried, and some even succeeded. Modern love is no joke, as films and shows like “Frances Ha” and “Girls” know, and neither is modern friendship, or any part of early adulthood these days.

“I would like this picture of Bill Murray wearing this outfit and two watches to the premiere of The French Dispatch preserved and put up at The Louvre next to the Mona Lisa,” tweeted Twitter user @dailyleney on July 15, sharing the viral photo of Bill, 70, alongside his Dispatch co-stars Timothée Chalamet, and Tilda Swinton, as well as the film’s director, Wes Anderson.

It’s safe to say that director Sean Baker‘s latest film, “Red Rocket,” is one of the most anticipated of this year’s Cannes Film Festival. “The Florida Project,” Baker’s last film, premiered during the Director’s Fortnight at Cannes 2017 and quickly became one of the most talked-about films at the festival.

The Robert Bresson quote that opens the anthology film “Year of the Everlasting Storm” — “you don’t create by adding, but by taking away” — makes a tidy adage of the time-honored idea that deprivation breeds innovation.

In “A Hero” (“Ghahreman”), Asghar Farhadi blurs the line of innocence and guilt in a fraught drama about the true weight of a good deed. During a two-day reprieve from prison, Rahim Soltani (Amir Jadidi) and his girlfriend Farkhondeh (Sahar Goldust) discover a handbag full of golden coins.

“Aline” is shaping up to be a hit.

When teenaged environmental activist Greta Thunberg made her now-famous speech at the UN Headquarters in 2019, she was met with equal parts admiration and derision, likely an unfavorable imbalance toward the latter. For every A-list celebrity who reposted a clip on their Instagram story, adorned with enthusiastic heart emojis, surely another handful of Internet trolls lurked in the comments and left discouraging messages.

The rise in popularity of true crime stories has seen the line between genuine investigation and lurid exploitation become increasingly blurred. With every new Netflix docu-series, podcast episode, and beach-read paperback, content creators are having to go further afield to dig up some crime forgotten to history to recast in a light that often appears oriented for entertainment first, with any richer insights an inadvertent byproduct.

Iranian director Asghar Farhadi is no stranger to success at the Cannes Film Festival. While the three films of his that have premiered at Cannes haven’t won the coveted Palme d’Or, two have won other prizes at the festival.

In Arnaud Desplechin’s “Deception” (“Tromperie”), one character’s husband is described as “passionate about dazzling, interesting women.” In this adaptation of Philip Roth’s novel of the same name, one can’t help but wish the director shared the character’s interest.

It would be disingenuous not to begin this review by mentioning that, yes, Panah Panahi is indeed related to the titan of Iranian cinema, Jafar Panahi.

A coming-of-age summer romance yarn, “Mi Iubita, Mon Amour” succeeds in shifting the power dynamic within the classic genre archetype, albeit in a way that increases the creep factor.

What do we really know about children? Until the Renaissance, artists were still painting them as freakish shriveled adults. Only in the last century-ish did American society decide they probably should go to school instead of laboring all day in sweatshops.

We can all stop wishing it a long life: the new flesh is thriving, living rent-free in Julia Ducournau‘s fucked-up titanium brain, oozing from every frame of her bizarrely beautiful, emphatically queer sophomore film, and thence seeping in through your orifices, the better to colonize your most lurid, confusing nightmares, as well as that certain class of sex dream that you’d be best off never confessing to having.

“Where are you really from?” It’s an invasive question that’s awfully familiar to people of color, one that intrudes its way into our everyday lives. Though it can have innocent intentions, it’s often hostile and only works to invalidate our livelihood.

Those looking to enjoy “Lamb” from Icelandic director Valdimar Jóhannsson would do well not to learn anything about it beyond its admittedly intriguing premise before watching it — to enter the screening room like lambs to the slaughter, if you will. Playing in the Un Certain Regard section of this year’s Festival de Cannes, the film centers on a couple living on a remote sheep farm, where they one day discover an unusual newborn that they immediately decide to raise as their own.

“Magnetic Beats,” the directorial debut from Vincent Maël Cardona, is one of the most exciting new features at this year’s Directors’ Fortnight at Cannes. And in the wake of the recent world premiere of the feature, we’re happy to offer our readers an exclusive clip from the new drama.

Premiering in competition at this year’s Festival de Cannes, Nanni Moretti’s wild melodrama “Three Floors” is based on a 2017 Israeli novel called “Shalosh Qomot” from writer Eshkol Nevo and begins with an undeniably tragic event. One dark night on a quiet street of Rome, a drunk driver runs over a lady crossing the road, narrowly avoids hitting a pregnant woman, then finally crashes into a building, landing straight into a family’s living room.

What do fans of Sylvan Esso dance house remixes and Bob Dylan have in common? Almost nothing, you’d imagine, and you’d probably be right. But in Clio Barnard’s sweet, unlikely romance “Ali & Ava,” which premiered as part of Cannes’ Directors’ Fortnight program, the two titular characters—both from opposite musical camps—learn to find common ground in each other’s preferences and more, to share in each other’s lives.

Well, Wes Anderson‘s “The French Dispatch” has premiered at the Cannes Film Festival, and it appears to be a big hit, some saying it’s one of Anderson’s best pictures and even stronger than his celebrated last live-action film, “The Grand Budapest Hotel.” Our critic Jessica Kiang wrote about the film, “’The French Dispatch”… is a work of such unparalleled Andersonian wit, that at times the sheer level of detail – mobile, static, graphic and typographic – that bedecked the screen was enough to

Having been a mainstay of the Croisette for years and a Palme d’Or winner in 2015 for “Dheepan,” French filmmaker Jacques Audiard (“The Beat That My Heart Skipped,” “A Prophet,” both Cannes prize winners), is no stranger to the Cannes Film Festival. Since 2005, all of his films have debuted at Cannes save one (2018’s “The Sisters Brothers” that went to Venice).

Bella Hadid is making a bold statement at Cannes. The supermodel attended the premiere of at the 74th Cannes Film Festival on Sunday night in a golden lung necklace that was the talk of the red carpet.The nearly floor-length, long-sleeved black gown was paired with Daniel Roseberry’s Fall 2021 couture collection for Schiaparelli.

July 12th, 2021, Cannes – Reader, I ratatat out this missive in haste on my trusty Smith-Corona from the South of France, in the paltry hopes it may adequately convey my delight in viewing the latest cinematographic marvel from Mr. Wes Anderson, originally of Houston, Texas but more latterly resident of a nearby color-coded, symmetrical nebula almost entirely of his own design.

Jodie Turner-Smith appears to have been the victim of a robbery.

As we’ve noted in the last two weeks of this ongoing Cannes Film Festival, Léa Seydoux is the belle of the ball, and she has four films playing at Cannes, three of them in competition.

There’s a lovely wind that blows across the island of Fårö, Ingmar Bergman‘s actual home for several years, and his spiritual home for several decades. Even in the summer, when Mia Hansen-Løve‘s “Bergman Island” is set, the breeze is constant, cool and a little salt-dampened, tousling Vicky Krieps’ hair, scudding through the tufts of scraggly dune-grass and sweeping majestically across the vast empty spaces where the point of this movie is supposed to be.

Two years ago, Noémie Merlant wowed audiences with her incredible performance as the lead actress in “Portrait of a Lady on Fire.” The film would premiere to rapturous reviews and go on to dominate many critics’ top ten lists at the year’s end. And for Merlant, it served as a breakout performance that made film fans take notice and look out for everything she might have coming up.

The fact that cows in dairy farms usually tend to have miserable lives should be a surprise to no one in this day and age. This knowledge, however, does not take away any of the power of Andrea Arnold’s “Cow,” playing in the Cannes Premiere section of this year’s Festival de Cannes.