France
Despite excellent performances from Binoche and Deneuve, Koreeda’s The Truth is rather more conventionally dull.
Adults In The Room is a hard sell, failing to deliver an intriguing narrative despite being about the political cunning behind the Greek financial bailout.
A Faithful Man is a charming farce that only the French could pull off, combining all of the best elements of vintage romances with a thoroughly modern take on gender roles.
Varda by Agnes is a disappointing finale to a remarkable career, a feature length beginner’s guide to her back catalogue for new fans only.
With an uninspired script and meaningless dialogue to fill space, Cold Blood is lifeless from the opening moments, failing to live up an action movie or thriller.
The only thing more surreal than the experience of going to see Bi Gan’s Long Day’s Journey Into Night is perhaps the movie itself.
Tracks is a rather tedious ride that doesn’t possess any of the characteristics a rom com should have in order to soar.
Katie Says Goodbye proves playing an uplifting song at the end of a film doesn’t resolve the absence of thematic meaning that was lacking throughout the entire movie.
A big crowd-pleasing comedy that truly delivers, The Trouble With You is simply a very funny film with a very large heart.
What kind of character is Audrey Tautou play in Amélie when we examine her again 18 years since the film’s initial release? Read on for our verdict.
Wonders of the Sea following explorer and filmmaker Jean-Michel Cousteau is well-intentioned but never a truly satisfying experience.
Video Dispatches is a regular column reviewing recent home video releases. This week we covered Claire Denis’ softly dismissed Let the Sunshine In.
What happens to those without resources to evacuate a dying world? John Stanford Owen examines life and humanity in High Life.
Art is inseparable from death. This is one of the main conclusions of Abel Ferrara’s meditation on the always controversial Pier Paolo Pasolini.
Even if Non-Fiction doesn’t end up being a revelatory film in Assayas’ catalogue, it’s never uncompelling.