By Josh Cabrita A secular credo patchworked from the Golden Rule and the Universal Declaration of Human Rights is engraved on an altar: “The Square is a sanctuary of trust and caring. Within it we all share equal rights and obligations.” Before it was a two-hour and 20-minute Palme d’Or winner, The Square was born…

By Dan Sullivan Cinema Scope: Good Time has a propulsive feeling of forward momentum, a kind of punchiness, which was also present in flashes in Heaven Knows What (2014). Your work has always been marked by a chaotic energy—but here it’s so consistent and sustained. Was that always the idea for the film, and how…

By Mark Peranson To celebrate its 70th anniversary, Cannes aggressively, yet clumsily, inserted itself into all kinds of contemporary debates over that age-old question: What is Cinema? The first answer to this question: the cinema is Cannes. On the organizational side, this was evident in the reworking of the festival trailer that runs prior to…

By Blake Williams The first segment of Abbas Kiarostami’s final, posthumously completed video piece, 24 Frames, is a simple rendering of Pieter Bruegel the Elder’s 1565 painting The Hunters in the Snow. Staring, for a Cageian four-and-a-half minutes, at the familiar wintery scene—its composition exemplary of the Dutch master’s decentred, multitiered narrative designs—we witness Kiarostami’s…