‘Occupied City’ Review: Steve McQueen’s 4-Hour Doc Leads A Tour Of Nazi Atrocities Through Amsterdam [Cannes]

A24 follows You Hurt My Feelings last weekend with dual-language romance Past Lives, starting a platform release on four screens in New York and LA including Q&As led by talent who have been champions of the film, including Steve Buscemi, Jodie Turner-Smith and Lulu Wang. Expanding this month.

Kelly Clarkson has released a new song from her upcoming album!

Documentary fans might be forgiven for nurturing a dream – that Cannes would follow the recent example of Venice and Berlin and award its top prize to a nonfiction film. Complete the documentary Triple Crown – the Golden Lion, the Golden Bear and the Palme d’or.

Brand new character posters for Asteroid City were just released!

A Hollywood icon and philanthropist! Michael J. Fox gained worldwide recognition beginning in 1982 on the NBC sitcom Family Ties and continued his skyrocket to fame for the next four decades.

In 2008, Kléber Mendonça Filho released “Crítico,” a documentary building upon his years of experience as a film critic to weave a rich chronicling of cinephilia that gathered over 70 critics and filmmakers to discuss cinema in all of its joys and contradictions. Fifteen years later and following great acclaim as a fiction feature director, Filho returns to documentary to investigate some of the themes he first prodded upon in his debut with “Pictures of Ghosts.” READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch  As with Godard and Paris, Fellini and Rome, Scorsese, and New York, Filho is a filmmaker whose craft is deeply intertwined with his love of a city, in this case, the Pernambuco capital of Recife, in the north-east of Brazil.

Manchester City's new club store is moving into the Arndale's former Pink unit and supporters can grab a picture with the Premier League trophy this weekend.

Scarlett Johansson and Maya Hawke showed off their unique senses of style while attending a photocall for their new movie Asteroid City at the 2023 Cannes Film Festival on Wednesday (May 24) in Cannes, France.

Steve Albini has spoken to NME about his time recording Nirvana‘s ‘In Utero’ – as well as working with the “smart, unpretentious, and really funny” Manic Street Preachers.Speaking from his Electrical Audio studio in Chicago, the outspoken Albini – who has also worked on cult and classic records by Pixies, Breeders, Yourcodenameis:milo, Slint and PJ Harvey – said that being forever associated with Nirvana due his work on their 1993 final album ‘In Utero‘ was no albatross.“It’s totally normal, it’s perfectly reasonable,” the producer and audio engineer told NME. “If you had never heard of me before and someone is trying to introduce me to you, they are going to name the famous records that I worked on – and ‘In Utero’ is the most famous.”Albini said that working on the follow-up to the internationally successful ‘Nevermind’ was “fairly normal”, though he ensured that all knowledge of the sessions were kept secret.“There wasn’t anything out of the ordinary about the sessions,” he said.

Scarlett Johansson and Colin Jost let their love shine in France! On Tuesday, the actress and the star stepped out for the premiere of  at Palais des Festivals during the 2023 Cannes Film Festival.The usually private pair had all eyes on them as they made a rare outing together and looked loved-up as they showed minimal PDA. Johansson, 38, was a vision in a pink dress that showed off her massive back tattoo.

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Lord, give me strength. From the first minute of “The Idol,” the already controversial music-based television series from HBO Max (sorry, Max), it’s clear that creators Abel Tesfaye (formerly known as The Weeknd), Sam Levinson, and Reza Fahim want to incite a reaction.

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The very first winner of the Palme d’Or in 1955 was future Best Picture Oscar winner Marty which starred Ernest Borgnine and Betsy Blair as two lonely middle aged adults beginning a tentative relationship in search of love. Before it was called the Palme d’Or, the top Cannes prize known then as the Grand Prix went in 1946 at the festival’s beginning to David Lean’s Brief Encounter, also the story of two adults who meet by chance and get together.

“Eureka” seems somewhat deceitfully simple: a man called Murphy (Viggo Mortensen) searches for his abducted daughter with the help of the mysterious El Coronel (Chiara Mastroianni), even if he has to shoot everyone who stands in his way.

God, what a terrible thing it is to be a teenage girl. A body once free to roam and run and be transformed by the unforgivable rush of hormones, cunning little tricksters pumped through blood in a mad rush to reach the anti-climatic cusp of adulthood.

Cannes Film Festival features an unusually robust selection of documentaries, two in the Main Competition alone, where nonfiction films almost never appear. And if the ones that have screened in the festival’s first three days have anything in common, it’s scale.

“Johnny! Johnny!! Johnny!!! Johnny Depp!!!!” The celebrity dutifully signed autographs for his followers on the red carpet for the premiere of Jeanne du Barry, director Maiwenn’s Cannes Film Festival opener.

Owen Gleiberman Chief Film Critic Over the past 15 years, Steve McQueen has become one of my favorite filmmakers. He’s made only a handful of features, but in almost every case he takes a subject of extraordinary magnitude (the 1971 IRA prison hunger strike in “Hunger,” the complex horrors of slavery in “12 Years a Slave,” the collision of gritty city politics and feminine revolt in “Widows,” the epochal crackdown on West Indian immigrants in London in “Mangrove”) and uses it to box open your heart and mind. And he does it all with a storytelling vibrance that’s at once heady and populist. So when it was announced that McQueen would be directing his first documentary feature, and that it would tackle the subject of the Holocaust, dealing with the victims of the Nazi occupation of Amsterdam (the city where McQueen now lives), my anticipation took the form of thinking: How, with a director of McQueen’s skill and imagination and gravity, could this be less than fascinating?

We walk among ghosts in cities, storied urban constructs with layers of misty memories one can sense in their distinct smells, and perceive in their dated cracks and imperfections. There are hundreds of thousands of such ghosts that haunt Steve McQueen’s audacious documentary essay “Occupied City,” a 2023 Cannes premiere that is as much a hypnotizing and cumulatively disquieting cinematic artifact about the Holocaust and World War II-era Amsterdam as it is a stubbornly single-minded historical art installation.The simplest way to describe “Occupied City” would be calling it an extensive guided tour of Amsterdam’s past that uses Bianca Stigter’s book, “Atlas of an Occupied City (Amsterdam 1940-1945)” as a compass.