RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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New films to watch out for in 2024
RITA DI SANTO casts an eye over the winners - and the overlooked films - from this year’s festival
Cannes
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
THE jury stunned, but did not displease the festival audience here on Saturday night, with the awards for the 77th Cannes Film Festival. It’s not that the winners were unpopular, but that they were unexpected.
Everyone predicted the Palme D’Or would go to Mohammad Rasoulof’s The Seed Of The Sacred Fig, the story of an investigating judge in Tehran who grapples with paranoia as nationwide political protests intensify and his gun mysteriously disappears, but instead the film won only the Special Award.
Everyone expected legendary US actress Demi Moore to pick up Best Actress for her searing performance in The Substance, the story of an ageing Hollywood actress-turned-aerobics-workout-host who gets fired from a TV network for being deemed too old. In a rage of desperation, she calls a tip she’s been handed anonymously and gets hooked up with a sinister sci-fi body-enhancement programme known as The Substance.
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