Another round: the idiosyncratic and increasingly prolific Korean filmmaker discusses his two films at Cannes this year, Claire’s Camera and The Day After
Up close and personal: L’Amant double, Carne y Arena (Virtually Present, Physically Available), and restorations of cinematic classics weren’t afraid to bare it all
Little Moscow on the Croisette: Kantemir Balagov’s Closeness, Andrei Zvyagintsev’s Loveless, and Sergei Loznitsa’s A Gentle Creature stood out at the French fest
Portrait of the artist: Ruben Östlund’s The Square and Michel Hazanavicius’s Redoubtable sought to satirize the self-seriousness of the art and film worlds, respectively, with mixed success
