Cannes review: The Desert Bride (2017)
★★★★☆
The Desert Bride (La Novia del Desierto) is a charming Argentinian road move about a late-life blossoming.
2017
Cannes review: Bright Sunshine In (2017)
★★★★☆
Juliette Binoche stars in a rom-com departure for Claire Denis in Bright Sunshine In (Un Beau Soleil Interior).
Cannes review: A Man of Integrity (Lerd) (2017)
★★★★☆
Mohammad Rasoulof laments institutional corruption in Iranian society in A Man of Integrity (Lerd).
The Sense of an Ending (2017)
★★★★☆
The Lunchbox director Ritesh Batra’s adaption of Julian Barness’ The Sense of an Ending is a sensitive, unflinching reflection the deceptiveness of emotions.
The Lost City of Z (2017)
★★★☆☆
Pitting the difficulties of returning against the traveller’s urge to stray, James Gray’s The Lost City Of Z finds no peace at home or abroad.
Viceroy’s House (2017)
★★★☆☆
An upstairs-downstairs portrait of Indian independence and Partition, Gurinder Chadha’s Viceroy’s House is a history lesson with a big heart.
Bitter Harvest (2017)
★★☆☆☆
In Bitter Harvest George Mendeluk explores a tragic period in Ukraine’s history and makes it the background to a love story.
Ana, Mon Amour (2017)
★★★☆☆
An intimate portrait of the codependency of love, Cãlin Peter Netzer’s Ana, Mon Amour falters through its very male gaze.
Pieles (2017)
★★☆☆☆
A rhapsody in pink and purple pastels, Eduardo Casanova’s episodic debut Pieles doesn’t quite have the smarts to match its looks.
The Lost City Of Z (2017)
★★★☆☆
Pitting the difficulties of returning against the traveller’s urge to stray, James Gray’s The Lost City Of Z finds no peace at home or abroad.
On The Beach At Night Alone (2017)
★★☆☆☆
With its quiet portrait of a lovesick actress, Hong Sang-soo’sOn The Beach At Night Alone reveals a disappointingly light vision of a male fantasy.
Have A Nice Day (2017)
★★★☆☆
Sleek in its industrial animation, Jian Liu’s Have A Nice Day makes up for a lack of substance with style.
The Bar (2017)
★★★☆☆
Returning to the horror-comedy genre of his early films, Álex de la Iglesia’s The Bar uncovers Spanish society at a frightening pace.
Joaquim (2017)
★★★☆☆
A pastoral account of the politicisation of Brazilian hero Tiradentes, Marcelo Gomes’ Joaquim makes up for its slow pace with delicious images.