Form and function: Kiro Russo’s El gran movimiento weaves together bravura camerawork and a simple story about a mysteriously ill laborer to create a pulsating portrait of La Paz, Bolivia
Flickering myth: at a plein air cinema up in the Greek mountains, cine-pilgrims gather every four years for the ongoing premiere of Gregory Markopoulos's Eniaios
Love on the rocks: Both Sides of the Blade is Claire Denis’ latest exploration of the dissonances between body and language—or, as critic Leo Goldsmith puts it, “discourse and meatspace”
Together forever: Alice Diop’s We is an associative tour of working-class suburbs, a meditation on the varying visions of French nationalism, and a grappling with the slippery politics of representing the underrepresented
Old ways: Qiu Jiongjiong’s first fiction feature a portrait of the artist as a historical being, subject to all the contingencies of material existence
Flying high: the last few days of Cannes contained many of this year’s high points, including Kelly Reichardt’s Showing Up, Albert Serra’s Pacifiction, and David Cronenberg’s Crimes of the Future
Not dark yet: our man in Cannes weighs in on the fest at the midpoint, highlighting Park Chan-wook’s Decision to Leave, Jerzy Skolimowski’s EO, Cristian Mungui’s R.M.N., and more
Mirror mirror: though questionable marketing decisions and technical snafus abound, the early days of Cannes 2022 have nonetheless delivered on the promise of genuine cinematic thrills
