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May 25, 2026
‘Red Rocks’ Review: Weirdo, Cliff-Jumping Kiddies Are the Focus of Bruno Dumont’s Latest Experiment
From “The 400 Blows” to “The Florida Project,” kids have made fascinating cinematic subjects. Even if they’re working from scripts, there’s always the sense that they’re not entirely acting — that ...
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May 24, 2026
‘Passenger’ Review: André Øvredal’s Roadbound Horror is a Stylish, Satisfying Thrill-Ride
Some of the most effective horror films craft their scares out of the reassuring everyday. In “Passenger”, the familiar routines and sounds associated with driving become ominous signs of incoming ...
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May 24, 2026
‘Everytime’ Review: A Grieving Family Finds a Strange Path Towards Healing in Sandra Wollner’s Poised, Haunting Third Feature
Everyone who has ever experienced serious grief knows the strange, unsettling things it can do to time: stretching it or compressing it by turns, consigning some passages of it to a black hole of m...
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May 23, 2026
Cannes Film Festival Reveals 2026 Award Winners (Updating Live)
The morning of the final day of the Cannes Film Festival is when the rumors start: fast-spreading whispers about which directors and stars have been invited back to attend that evening’s Palmarès a...
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May 23, 2026
‘Jim Queen’ Review: Hilarious Adult Animation Plays Like French Queer ‘South Park’ on Literal Steroids, With Some Poppers for Good Measure
“Jim Queen” is a film that very much sells itself (or very much does not, depending on the potential viewer) on its one-line elevator pitch. A cartoon about two gay men — one a vapid, brawny influe...
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May 22, 2026
Best of Cannes 2026: 20 Critics’ Picks From This Year’s Festival
The general consensus along the Croisette at this year’s Cannes Film Festival was that it felt like a quieter fest than usual: fewer big-name American titles, as festival director Thierry Frémaux h...
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May 22, 2026
‘The Birthday Party’ Review: Hafsia Herzi and Benoît Magimel Have a History in Léa Mysius’ Lackluster Home Invasion Thriller
Like “Funny Games” if it were somehow more pointless, “The Birthday Party,” a rustic home invasion thriller by writer-director Léa Mysius, is a head-scratching letdown considering its cast, a murde...
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May 22, 2026
‘I See Buildings Fall Like Lightning’ Review: Clio Barnard Returns With a Clunky Social-Realist Weepie About Five Friends in Birmingham
The group of lads at the center of Clio Barnard’s “I See Buildings Fall Like Lightning” dance their way through addiction, housing precarity, class tensions and good old romantic betrayal. In theor...
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May 21, 2026
‘Coward’ Review: Lukas Dhont Brings His Signature Aching Sensuality to the War-is-Hell Genre, and Makes His Most Satisfying Film to Date
Even the manifold mudbaths and bloodbaths of the Western Front can’t do much to dirty up Lukas Dhont’s exactingly exquisite filmmaking in “Coward,” the young Belgian director’s third feature, and h...
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May 20, 2026
‘I’ll Be Gone in June’ Review: European and American Sensibilities Collide in a Sensitive, Sharply Sensory Coming-of-Ager
The European exchange student, so often a cheaply targeted figure of fun in American high school comedies, gets the leading point of view in “I’ll Be Gone in June,” an intelligent, vividly evocativ...
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May 20, 2026
‘La Perra’ Review: Dominga Sotomayor Shores Up Her Reputation With an Elegant, Unsentimental Story of Trauma and Healing
Flames ripple across the tide in a jagged rockpool near the shore of the lonesome, wind-whipped Chilean island that houses “La Perra”: a film often content to surrender to the elements, though rare...
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May 19, 2026
‘Bitter Christmas’ Review: Pedro Almodóvar’s Playful New Film Nests Stories Within Stories, and Alter Egos Within Alter Egos
Early in Pedro Almodóvar’s new film “Bitter Christmas,” a female filmmaker is briefly hospitalized, and the attending physician recognizes her as the director of an offbeat film from some years bef...
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May 19, 2026
‘Minotaur’ Review: Andrey Zvyagintsev Returns in Impeccable Form With a Despairing, Darkly Funny Reflection on Corruption and Betrayal in Putin’s Russia
One of the first things you notice about “Minotaur” is how much space there is in it. Uncrammed domestic interiors give the camera enough room to scrutinize details in stalking, unimpeded pans; mod...
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May 19, 2026
‘Strawberries’ Review: Moroccan Women in Spain’s Agricultural Industry Are Exploited by a Callous System in a Potent but Flawed Drama
Stories about exploited migrant workers have become something of a mainstay in international cinema, rightly so given the tenacious hold this form of indenture — or worse — continues to have on the...
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May 18, 2026
‘Fjord’ Review: The Family That Prays Together is Torn Asunder in Cristian Mungiu’s Brilliantly Knotted Social Drama, Led by Sebastian Stan and Renate Reinsve
An actual avalanche happens in the background of an early scene in “Fjord,” as snow gathers and masses and tumbles down a hill behind the school in a small, close-knit Norwegian village, eventually...
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May 18, 2026
‘Cantona’ Review: The Hard-Headed French Soccer Legend Takes Nothing Back in a Slick Documentary Portrait
Lifted from his poem “Flowers of Evil,” the Charles Baudelaire quote that opens “Cantona” — “I am the wound and the knife/I am the blow and the cheek/I am the limbs and the wheel/Victim and executi...
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May 18, 2026
‘Karma’ Review: Marion Cotillard and Denis Ménochet Class Up Guillaume Canet’s Lurid, Overlong Potboiler
What goes around mostly just goes around, goes around, and goes around once more in “Karma,” a sometimes engrossing but indulgently drawn-out affair given the veneer of luxury trash by all-in perfo...
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May 17, 2026
‘A Girl’s Story’ Review: Judith Godrèche’s Assured Feature Debut Tells a Bitter Tale of Sexual Initiation in 1950s France
The resemblance between Judith Godrèche and her daughter Tess Barthélemy — also the luminous lead of her mother’s debut feature “A Girl’s Life” — will be particularly powerful for anyone familiar w...
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May 17, 2026
Blood, Blasphemy and Boning: Ken Russell’s ‘The Devils’ Turns 55, and It’s Still the Freshest, Wildest Film at Cannes
Typically, the Cannes Classics section is not one of the festival’s major noise-makers. Mostly comprising restorations of classic titles and new documentaries about film history, it is, for most at...
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May 17, 2026
‘The Station’ Review: A Long-Gestating, Female-Centered Project Set in Yemen That’s Well Worth the Wait
Sara Ishaq’s highly anticipated fiction debut “The Station” is the multi-layered feature we’ve been hoping would follow her impressive 2013 documentary “The Mulberry House.” Much has changed in Yem...
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May 16, 2026
‘Double Freedom’ Review: A Woodsman’s Simple Life Is Upended in Lisandro Alonso’s Beautifully Minimalistic Comment on Argentina’s Current Political Crisis
“Double Freedom,” the latest by the Argentine auteur Lisandro Alonso, marks a return to the simplicity of his earliest works following the more complex likes of “Eureka,” his 2023 tripartite epic s...
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May 16, 2026
‘Club Kid’ Review: Jordan Firstman Cleans Up His Act in a Sweet, Surprisingly Old-Fashioned Heartwarmer
Jordan Firstman’s first Cannes premiere began with him gleefully twerking on the red-carpeted steps of the festival’s Debussy theater, before expressing in his onstage intro how thrilled he was to ...
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May 16, 2026
‘In the Grey’ Review: Jake Gyllenhaal, Henry Cavill and Eiza Gonzalez Magazine-Cover Their Way Through Guy Ritchie’s Attractive Time-Killer
Guy Ritchie is a filmmaker and series creator whose prodigious busyness in terms of both workload and story approach has its compensations. It’s foolish to expect what is so rarely a part of Ritchi...
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May 14, 2026
‘Gabin’ Review: A French Farm Boy Grows Up, Both Fast and Slow, in a Marvelous Cannes Discovery
“Gabin” is far from the first film — nonfiction or otherwise — to make a longterm investment in a child protagonist, training a camera on them over years as adulthood gradually approaches. Maxence ...
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May 14, 2026
‘Tangles’ Review: Striking Animation Honors an Artist’s Heartbreaking Account of Losing Her Mother to Alzheimer’s
The distinctive visual storytelling of Canadian cartoonist Sarah Leavitt is deftly and stylishly transferred to the big screen in “Tangles,” an honestly felt and highly affecting adaptation of her ...
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May 14, 2026
‘Obsession’ Review: Clever, Creepy Indie Horror Applies an Old-School Monkey’s Paw Device to Modern Relationships
We generally hear the words “careful what you wish for” enough times in life that you’d think, if you ever were to be granted your heart’s desire by supernatural means, you’d at least be really par...
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May 14, 2026
‘Viva’ Review: A Breast Cancer Survivor Runs From a Potential Recurrence by Embracing Life
Most comedies rely on a certain amount of established tropes: the obsessive best friend, the stereotyped psychotherapist, the randy 20-year-old. Besides offering comfort, this kind of familiarity c...
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May 13, 2026
‘A Woman’s Life’ Review: Finely Textured Character Study Does More Than What It Says on the Tin, Thanks to Léa Drucker’s Superb Performance
“Anaïs in Love,” the 2021 debut feature by writer-director Charline Bourgeois-Tacquet, was a sunny portrait of idealized French womanhood that turned cooler and stranger the longer you stayed with ...
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May 13, 2026
‘Nagi Notes’ Review: Koji Fukada’s Quietly Resonant Drama Examines Lives No Longer Defined by Patriarchy
No voices are raised in “Nagi Notes,” in the course of a tranquil week or so spent in a remote rural village in western Japan. No seismic incidents disrupt the film’s mellow day-to-day flow, and th...
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May 13, 2026
‘Butterfly Jam’ Review: Barry Keoghan and Riley Keough Are Circassian Siblings in Kantemir Balagov’s Vibrant but Unruly Community Portrait
As earthly circles of hell go, modern-day Newark is in an altogether different, gentler category from post-WWII Leningrad. Still, in Kantemir Balagov’s long-awaited third feature “Butterfly Jam,” i...
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