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  • A Way Home review – Alzheimer’s and immigration in portrait of a disappearing past

    Karima Saïdi’s documentary movingly tries to shore up memories from her mother’s life, but the ethics of the process are uneasy
  • Unclenching the Fists review – claustrophobic drama full of trauma and tenderness

  • Cannes 2023
    Firebrand review – Jude Law’s obese and oozy Henry VIII rules supreme in Catherine Parr drama

  • Cannes 2023
    Eureka review – booze, bird souls and Viggo Mortensen in barmy yet rich experimental enigma

  • Cannes 2023
    Anatomy of a Fall review – Sandra Hüller compels as an author accused of her husband’s murder

  • Scorsese and De Niro reunite at Cannes for Killers of the Flower Moon

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  • Nazis and normality: UK directors unsettle Cannes with films tackling ‘unseen’ evil

    • ‘The welcome is unimaginable’: Harrison Ford reduced to tears in Cannes over Indiana Jones’s return

    • Sean Penn says failing to resist rise in AI screenwriting is a ‘human obscenity’

    • Disney cancels plans for $1bn campus in Florida amid battle with DeSantis

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  • The Other Fellow review – no, I’m James Bond…

  • Nam June Paik: Moon Is the Oldest TV review – engaging film about the video art pioneer

    Amanda Kim’s documentary encapsulates the disruptive work of the Korean American artist, who was years ahead of his time
  • White Men Can’t Jump review – generic remake of the hit 90s comedy

    In the Wesley Snipes-Woody Harrelson roles of the basketball-hustling duo, Sinqua Walls and Jack Harlow are fine, but the original’s edginess has been lost
  • The Breaking Ice review – frozen emotion and sexual tension on North Korean border

  • Are You There God? It’s Me, Margaret review – warm, emotionally agile Judy Blume adaptation

  • Under the Fig Trees review – dreamy, sensual Tunisian drama

  • May December review – Julianne Moore and Natalie Portman potent in Highsmithian drama

  • Beau Is Afraid review – Ari Aster’s patience-testing shaggy dog story

  • Killers of the Flower Moon review – Scorsese’s magnificent period epic is an instant American classic

  • May December review – fraught drama starring Natalie Portman and Julianne Moore promises more than it delivers

  • Killers of the Flower Moon review – Scorsese’s remarkable epic about the bloody birth of America

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Video & audio

  • Weekend podcast: Little Mermaid star Halle Bailey, Marina Hyde on the This Morning ‘rift’, and the bereaved sex taboo

  • Why China just can't quit Hollywood – video



    At a time when the China and the US's political relationship has grown ever more rancorous, China is opening the door to US blockbusters once again. Why is China's film industry so dependent on Hollywood?
  • First feature film shot in space premieres in Russia – video



    Moscow celebrates beating rival Hollywood project as first feature film shot in space opens in Russian cinemas
  • Why has gaming taken over? – Pop Culture with Chanté Joseph

  • Are we over the Oscars? Pop Culture with Chanté Joseph

  • A look back at the life and films of Gina Lollobrigida – video obituary



  • Weekend podcast: actor Kathleen Turner, Marina Hyde on Prince Harry’s memoir, and navigating fertility as twins

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  • Ghosted is not romantic – it’s a walking red flag

    Jess Bacon
  • Tracking down and snapping retired stars is a gross and uneasy trend

    Stuart Heritage
  • Jude Law’s Henry VIII, Alicia Vikander’s Catherine Parr – and Johnny Depp as Louis XV: Cannes again lays on a king’s banquet

    Peter Bradshaw
  • Today’s ‘films’ are nothing of the sort – so stop calling them that

    John Boorman
  • Quentin Tarantino’s next film is about a film critic. Should I be scared?

    Peter Bradshaw
  • Everything Everywhere All at Once owes its smashing Oscars victory to its amazing resonance

    Peter Bradshaw
  • Michael Caine might not like it, but Zulu shows cinema’s power to rewrite history

    Peter Bradshaw
  • Chaim Topol: the Fiddler on the Roof star showed Jews their origin story

    Siam Goorwich
  • The Whale is not a masterpiece – it’s a joyless, harmful fantasy of fat squalor

    Lindy West
  • Woody Harrelson’s new film means well – but disabled people are more than mascots

    Cathy Reay
  • Sorry, Seth Rogen: good film reviews wouldn’t mean much if bad ones weren’t allowed

    Peter Bradshaw
  • Scientists have named a new range of antimicrobials after Keanu Reeves. Here’s why that’s a mistake

    Stuart Heritage
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  • Actor Michael Socha: ‘Did I fall in with the wrong people? No, I was the wrong people’

  • Melissa McCarthy: ‘I spend a lot of my work shredding people’

    Actor Melissa McCarthy on winding up Trump, using ‘humour as healthcare’ and why she’s had enough of Hollywood’s ‘screamers and egos’
  • Actor Lucas Hedges: ‘I love nostalgia, so walking around England is another level’

    The American star of Manchester By the Sea on making his West End debut in the world premiere of Brokeback Mountain, escaping tragic film roles, and nepo babies
  • ‘I think we have inherent biases’: Marchánt Davis on playing a ‘white guy with a beer belly’ in Reality

  • ‘It was apocalyptic’: Tim Richards of Vue on cinema’s collapse and comeback

  • ‘I’d tell myself: you’re a loser, a failure, ugly …’ Matilda’s Mara Wilson on the price of fame

  • ‘I’m pleased as pie!’: Jason Sudeikis on Ted Lasso – and lessons in kindness


  • Mark Kermode's film of the week
    Beau Is Afraid review – Ari Aster’s patience-testing shaggy dog story

  • Streaming and DVDs
    Streaming: Cocaine Bear and the best ‘so bad they’re good’ films

  • Week in geek
    Is The Creator the first (or last) in a new wave of sci-fi movies about AI?

  • Steve Rose on film
    Why the heavily criticised digital revolution has been good for cinema

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You may have missed

  • ‘Kafka-esque nightmare’: what many women face when reporting rape

  • ‘She was a hustler’: the fascinating true story of Anna Nicole Smith

    The actor and model lived a life of much-publicized excess but a new Netflix documentary provides a more rounded idea of who she really was
  • The secret of Liam Neeson’s success: a monomaniacal fixation on … tea?

    Stuart Heritage
    The perma-frowning Taken star has revealed that he will only consider a script worthwhile if it manages to stop him thinking about his next cuppa. How do you live like this?
  • Passed Away: will Tom Hanks be making films long after he’s dead?

  • Please stop using AI to make Wes Anderson parodies

    Stuart Heritage
  • Robert De Niro has had his seventh child aged 79. Does that explain the bagel adverts?

    Stuart Heritage
  • Will The Little Mermaid be the most horrifying film since Cats?

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