Features

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

Feeling seen: Ninja Thyberg’s Pleasure is an honest, witty, and insightful telling of the everyday life of an aspiring porn star

Against interpretation: with its maze-like narrative and nightmare-inducing imagery, David Lynch’s epic Inland Empire is so much more than a puzzle to be solved

Let’s get physical: the new RRR is an epic showcase for Indian blockbuster master S.S. Rajamouli’s blending of history and myth

Fading light: Gaspar Noé's latest provocation, Vortex, is an unflinching, exhilarating look the ravages of decline and death

Disappearing act: This year’s recipient of the Chaplin Award is an actress whose nearly superhuman versatility is matched by the consistency of her craft