After a series of dreary entries in the main competition, a trip to Directors’ Fortnight to see Takashi Miike’s latest gonzo exercise is exactly what the doctor ordered. And Jacques Audiard’s new film offers a crazy ending of its own. 

Style triumphs substance on a day when Gaspar Noé attempts to couch an earnest love story in hardcore sex, Hou Hsiao-hsien does his opulent take on the wuxia film, and Paolo Sorrentino’s latest has a pleasingly rhythmic flow. 

Critics polls confirm Gus Van Sant’s The Sea Of Trees as one of the most despised films to compete for the Palme, while Jia Zhang-ke and Pixar get ambitious even by their respective standards. 

Our Cannes correspondent gets blown away by a movie he didn’t expect to like and disappointed by a longtime favorite.

Cannes 2015 continues with the latest from Stéphane Brizé,  Joachim Trier, Jeremy Saulnier, and Kiyoshi Kurosawa.

After three days of darkness and grotesquerie, the festival embraces romance and offers its two best films so far, Todd Haynes’ superb Patricia Highsmith adaptation and Arnaud Desplechin’s prequel (of sorts) to My Sex Life...Or How I Got Into An Argument. 

The infamous Cannes boobirds welcome Gus Van Sant’s latest with a chorus of derision while Woody Allen keeps on keeping on and the Italian Woody Allen, Nanni Moretti, offers a tonally woozy mix of comedy and drama. 

The latest from Dogtooth’s Yorgos Lanthimos and Tuesday, After Christmas’s Radu Muntean are fascinating, but symbolically dense to the point of opacity.

Our man in Cannes always looks for the festival to show him something new, and the first day obliged with many bizarre moments, most of them in Matteo Garrone’s fantastical anthology. Kore-eda Hirokazu and Philippe Garrel also make early debuts. 

With the Cannes 2014 awards announcements just hours away, Mike D’Angelo makes his predictions—and offers his suggestions about what should win.

The ninth day of Cannes 2014 includes new films from Olivier Assayas (co-starring Juliette Binoche, Kristen Stewart, and Chloë Grace Moretz) and Ken Loach (co-starring scandalous jazz music).

Technical gimmickry dominates the day, as Jean-Luc Godard revolutionizes 3-D with his new avant-garde puzzle Goodbye To Language, and Xavier Dolan invents his own Instagram-like aspect ratio for Mommy.

The latest from Cannes includes a new pile of fluff from The Artist director Michel Hazanavicius, and a solid gloss on weak material from André Téchiné.

After a sluggish first half, Cannes picks up a little back-half momentum with another great drama from the ever-reliable Dardenne brothers, and a wonderfully bizarre diptych from Pascale Ferran. 

As the festival reaches its halfway point, great movies are distressingly scarce. Can Bennett Miller’s true-crime story Foxcatcher and David Cronenberg’s Hollywood satire Maps To The Stars change the fest’s trajectory? 

The director of the fine coming-of-age movie The Myth Of The American Sleepover more than confirms the promise of that debut with an unexpected turn into horror. And Tommy Lee Jones tries his hand at an offbeat Western buddy picture. 

A pair of overstuffed films wear out their welcome, while a collection of punchy, light shorts fares better.

The Cannes competition slate is full of auteurs who get invited back year after year after year, but the latest from Atom Egoyan, a director who’s slumped since his 1990s peak, suggests it’s time to put some out to pasture.

The opening night of the Cannes Film Festival is often given to a glossy, pandering mediocrity, and the Grace Kelly bio Grace Of Monaco was no exception. Fortunately, the new Mike Leigh was there to pick up the slack.