I’ve seen Mia Hansen-Løve‘s “One Fine Morning,” and wasn’t too taken by it. It’s a familiar and simple story about a woman (Lea Seydoux) who embarks on an affair with a married man.

Ruben Ostlund’s latest provocation is absurdist satire done, mostly, right. The writer-director yet again proves he’s a unique voice in cinema and one that is much-needed at the moment.

George Miller‘s “Three Thousand Years of Longing” plays as a 21st century riff on “Arabian Nights.

It used to be that an Arnaud Desplechin movie would excite cinephiles worldwide. After all, this is the man who gave us “Esther Kahn,” “Kings and Queen,” and “A Christmas Tale.”

Tarik Saleh’s journey from Hollywood paycheck man to the director of a Cannes competition title is quite wild.

Bilge Ebiri has a must-read interview with Gaspar Noé over at Vulture. Noé hasn’t been shy in his distaste for Hollywood movies of recent years, but he further elaborates his criticisms here by citing some examples.

Here’s a piece I wrote for The Globe and Mail at Cannes. No masks in sight here, or just a very scant few. The festival is trying really hard to get past this pandemic (watch out Monkey Paws!)

“Most persistent rumours around the Croisette: Cronenberg's CRIMES OF THE FUTURE is way less shocking than Ali Abbasi's HOLY SPIDER, Östlund's TRIANGLE OF SADNESS is a bust, and Lukas Dhont's CLOSE is an emotional wipeout that's going to win the Palme d'Or.”

Jerzy Skolimowski is a filmmaker that, in his five-decade career, has had his share of ups and downs. To me, he’ll always be the man who directed “Deep End,” “The Shout,” and “Moonlighting,” three flat-out masterpieces.

I’m not sure what IndieWire’s David Ehrlich has been smoking, could be a mix of Purple Haze and Girl Scout Cookies, but he still stands by his rave review from Venice where called “Ad Astra” a masterpiece.

James Gray’s “Armageddon Time” is quite the lovely little movie. It’s a heartfelt gesture from one of the great American classicists of the 21st century.

Clint Eastwood has been making movies with Warner Bros. for over 50 years now. It’s been one of the most trust-worthy and lasting director/studio friendships in the industry.

The reviews for Joseph Kosinski’s “Top Gun: Maverick” will have you thinking it’s the second-coming of the action blockbuster. It is not. This nostalgia-heavy sequel to the original 1987 original (a mediocre movie in its own right), basically replicates that Tony Scott film, almost beat-for-beat.

Almost every year a handful of terrible films are put into Cannes competition. I really hope this year it’s just “The Eight Mountains.”

After two years of what looked like a never-ending pandemic, the Motion Picture Academy has decided that only movies that play in theaters will be eligible for Oscars.

I am by no means a fan of Kirill Serebnikkov’s movies, but there is a lot of good filmmaking in “Tchaikovsky’s Wife.” This is a passionate and messily told film.

Word out of the Cannes market is that director Lynne Ramsay is set to adapt the Margaret Atwood story “Stone Mattress”, with Julianne Moore and Sandra Oh set to star.

The Cannes ticketing system purports to allow journalists to reserve screenings four days in advance. That has clearly not happened.

Cannes programmer Thierry Fremaux admitted that he hoped to show two Netflix films in competition this year.

Ridley Scott’s “Napoleon,” which started shooting in February, has finally wrapped production in Malta. That’s four months of lending.