This is a film about how extremism feeds extremism. Everybody believes they’re morally right. Everybody becomes trapped inside ideology, fear, and self-righteousness.

Seven months after what French press described as the "the heist of the century" at the Louvre, Gavras has announced a film devoted to this topic.

Tim Burton is expected to head to Cannes this week for meetings with buyers about a closely guarded new film project. No details were revealed about what js being pitched.

“Her Private Hell,” which premieres tonight, is apparently Refn’s most experimental film yet — with barely any conventional story structure and more emphasis on atmosphere than narrative.

Paul Schrader doesn’t give a flying thought to what others think. Exhibit A is his Facebook account, which is clearly managed by him, with no PR firm involved.

László Nemes is at it again, not backing down from anything — now taking aim at the cultural climate surrounding growing ideological pressure within the film industry.

In the first major deal to emerge from the Cannes market, Amazon/MGM has acquired worldwide rights to Mimi Cave’s psychological thriller. The deal is around $20M.

Last year, seven films in total had a score of 2 or below on Screen’s Jury Grid; this year, with still 10 films left to screen, we’ve already hit seven.

A24 has finally won the rights to “Club Kid” in a deal said to be worth $17M. Given that A24’s Oscar slate is fairly weak this year, I presume this might become their main priority in the race.

Na Hong-jin decided to make the biggest, loudest sci-fi action monster movie possible and somehow convinced Cannes to screen it in competition.

Eisenberg is coming off the success of “A Real Pain,” released in 2024, which earned widespread acclaim and an Oscar for supporting actor Kieran Culkin.

During a masterclass at the Cannes Film Festival, Cate Blanchett revealed she will star in Brady Corbet’s next film, “The Origin of the World.”

In a Variety op-ed, Vin Diesel reflects on returning to Cannes for the 25th anniversary of “The Fast and the Furious,” framing it as a important moment for popular movies.

For many auditioning actors, simply being connected to James Bond can dramatically raise their visibility in the industry, even if they never seriously contend for the role.

Claire Denis is in prep mode for a film that’ll bring her back to the genre roots of 2001’s “Trouble Every Day.”

Gray refuses to change the way he makes movies, embracing an old-school classicism that may feel dated to some, but to others represents one of the last remnants of a distinctly American style of filmmaking that barely exists anymore.

Lonergan is set to direct “Tomorrow Is a Drag,” which is set to be his first film in over 10 years. Not just that, but Aubrey Plaza, Adam Driver, Vanessa Kirby and Matthew Broderick have signed on to star.

The 2007 film, a vital contender for the great American epic of the 21st century, is arguably PTA’s greatest achievement—a film that demands and rewards multiple viewings.

I’m not usually one to track Cannes standing ovations with a stopwatch, or even report on them, but in this era of endless over-applause, a three-minute ovation usually means something didn’t quite land.

Zvyagintsev actually positions “Minotaur” as a remake to Claude Chabrol’s “The Unfaithful Wife,” which itself was already remade by Adrian Lyne with 2002’s “Unfaithful”