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One should perhaps not read too much into the fact that the press screening of Kornel Mundruczó‘s “Evolution” was timed to coincide with the final of the UEFA European Football Championship.

Mention of “the Berkshires” conjures images of pastoral New England abutting major cultural institutions: The Norman Rockwell Museum, Mass MoCA, Tanglewood, Jacob’s Pillow. Every quaint town center enjoys an abundance of good ice cream and even better coffee.

Just a few days on the heels of “Stillwater,” another American entry in the Cannes Film Festival main competition section explores the complicated relationship between a father and daughter rooted in down-home Americana and close brushes with the law. “Flag Day” marks Sean Penn’s latest directorial return to Cannes since the critically-lambasted “The Last Face” from 2016.

Cinema’s love affair with trains goes back, of course, to the very origins of the art form, and more than a century later, the flame shows no sign of dimming. To recent examples such as “Snowpiercer” (2013), “Train to Busan” (2016), and the latest of many adaptations of “Murder on the Orient Express” (2017) can now be added “Compartment no.6” (“Hytti Nro 6”) from Finnish director Juho Kuosmanen, premiering in Competition at this year’s Festival de Cannes.

Midway through Joanna Hogg’s seismic “The Souvenir: Part II,” a continuation to her 2019 feature begotten from personal remembrances, her fictional alter ego, Julie (Honor Swinton-Byrne), sits in a van surrounded by the team of student filmmakers helping with her thesis project. The director of photography berates them for the inconsistency of the production attributed to Julie’s scattered-brained process.

You can never really predict what François Ozon might do next. As evidenced by his wide-ranging works, from the lush historical drama “Frantz” to the lazy summer romance “Summer of 85,” the prolific director can do just about anything with the stylistic prowess to boot.

“Once upon a time,” begins any good fairy tale. Though it too begins with this simple phrase, “Mothering Sunday” is no such fairy tale.

Director Joachim Trier has developed quite a relationship with the Cannes Film Festival over the years. Two of his films, 2011’s “Oslo, August 31st” and 2015’s “Louder Than Bombs,” have premiered at the festival, and he also served as the Jury President for the 57th Independent Critics’ Week at Cannes in 2018.

Like father like son, and just like that, there’s competition in the Panahi family for the best filmmaker.

A storm rages in Amsterdam, but that doesn’t deter visitors from lining up outside of the Anne Frank House to get a glimpse of her famous diary and gaze upon the rooms she once inhabited. A home address refashioned as a must-see tourist attraction for quick photos and perhaps some short-lived introspection.

It’s been a rocky four-plus years in American foreign policy, and nowhere is this more apparent than in “Stillwater,” the new thriller-slash-family drama from “Spotlight” director Tom McCarthy, which premiered out-of-competition at Cannes.

Midway through “The Worst Person in the World,” everything stops. Everyone in the streets of Oslo is frozen in an instant.

Before Jonas Carpignano makes a movie, first, he must find it. His last two features integrated themselves into the terrain of a distinctly modern Italy and imposed a loose narrative on the real-world subcultures based there, with 2015’s “Mediterranea” joining a group of African refugees and 2017’s “A Ciambra” extending that same observant attention to a Romani enclave settled in Calabria.

Quickly becoming one of the greatest humanist filmmakers we have with the most superb eye for composition in cinema, South Korean director Kogonada delicately breaks your heart in the luminous and exquisitely crafted “After Yang.” If you have children (and or can acutely recall your childhood), you know that precise moment in time when your child starts to gently, curiously inquire about death—what happens to us when we die— and then begins to sadly grapple with the concept that all things die,

Filmmaker Justin Kurzel hit a little bit of a speed bump in his rise as a filmmaker when his first major blockbuster, “Assassin’s Creed,” failed to live up to expectations. However, the filmmaker rebounded quite well a couple of years later with “True History of the Kelly Gang,” which showed Kurzel’s true style and talent once again.

“Rehana Maryam Noor,” the second feature film from director Abdullah Mohammad Saad, the first Bangladesh film featured in Cannes, is both a dogged pursuit for justice and a sturdy character study. The titular character Dr.

There is so much noise in Nadav Lapid’s “Ahed’s Knee” (“Ha’berech”): from the whitewash of the opening frames, which roar into a revving motorcycle engine, to an unexpected Vanessa Paradis needle drop, to the strange host of anatomical noises as Y (the choreographer Avshalom Pollack, very much in control of his physicality) breathes heavily and pads across the floors of his rented apartment in Arava, the desert where he’s screening his new film.

You can never really predict what François Ozon might do next. As evidenced by his wide-ranging works, from the lush historical drama “Frantz” to the lazy summer romance “Summer of 85,” the prolific director can do just about anything with the stylistic prowess to boot.

Midway through Joanna Hogg’s seismic “The Souvenir: Part II,” a continuation to her 2019 feature begotten from personal remembrances, her fictional alter ego, Julie (Honor Swinton-Byrne), sits in a van surrounded by the team of student filmmakers helping with her thesis project. The director of photography berates them for the inconsistency of the production attributed to Julie’s scattered-brained process.

The always artful filmmaker Todd Haynes totally ignores the one clichéd anecdote about the iconoclastic rock group The Velvet Underground in his superb, eponymic doc “The Velvet Underground,” a film that should always be experienced at top volume. Attributed to the similarly groundbreaking musician/ producer Brian Eno, the oft-repeated phrase claims the debut VU record only sold 10,000 copies, but everyone who bought it formed a band.

The diary of Anne Frank is an item that most people are very familiar with. Whether it’s something you studied in school or perhaps a story that you’ve seen adapted in films and TV series, the story of a young girl being hidden away from the Nazis during World War II is one of the most well-known in modern history.

Israeli writer/director Nadav Lapid has been on the international radar for quite some time, 2011’s “Policeman” made international waves, and 2014’s ‘The Kindergarten Teacher” was so well regarded, Hollywood, Netflix, and Maggie Gyllenhaal made a remake in 2018. But things started to really take off for Lapid after “Synonyms” won the Golden Bear award at the 69th Berlin International Film Festival in February 2019 and introduced most of the world to breakout star Tom Mercier.

An angry comedian fails to “kill it” with his audience, a breathy opera singer dies on stage every night, their torrid affair is a whirlwind of sex and romance, their prodigious child is presented as a creepy puppet, and their collective love may be torn apart by the abyss of fame. Qui, “Annette,” is another weird, dreamy, surreal vision from French maverick filmmaker Leos Carax (“Holy Motors,” “Pola X”).

Charlotte Gainsbourg is not only a multifaceted renaissance woman, actor, model, singer; she’s also French royalty, the daughter of louche French pop singer Serge Gainsbourg and model/actress/singer Jane Birkin. She’s also now a filmmaker, having made her first documentary, “Charlotte By Jane,” which melds all of these ideas together.

Another early morning, another early announcement from France. As promised by the organizers previously, new titles have been added to the Cannes Film Festival, nine of them in total.

two months later than its usual May perch. But many things will be different at this year’s festival.

pulled from the service earlier this month due to its depictions of “ethnic and racial prejudices”. Today, Dewey confirmed that the film will be back online “very soon” with added historical context.

Pixar’s “Soul,” Wes Anderson’s star-packed “The French Dispatch” and Steve McQueen’s “Mangrove” and Lover’s Rock” are among the 56 movies which will receive a Cannes 2020 label as part of the festival’s eclectic Official Selection.

Various filmmakers across the world look forward to showcasing their content at the highly anticipated Cannes Film Festival every year. This year too, the things were going as planned till the organisers decided to delay the event amid the ongoing Coronavirus Pandemic.