Could there be a better week for Sacha Baron Cohen to release a film called “The Dictator”? A few days ago, Cohen parked a camel in Cannes, in what seemed like the first act of a cult of personality. Pairing a touch of showmanship, a frisky film, and the spotlight of the festival, the star of “Borat” all but declared himself the worldwide ruler of comedy. Like many public rituals under totalitarians, “The Dictator” is long on stagecraft but a little

Judging from the line of people waiting to get into a still-closed Théâtre Lumière (seating capacity: 2,281) at 7:45 this morning the anticipation was high for Jacques Audiard’s return to the Croisette, “Rust and Bone.” It was in this same theatre that three years ago we discovered the history- and career-making “A Prophet,” one of the best films made in the last twenty years. One can’t help wondering if the self-effacing Audiard felt any sort

If Standard & Poor’s assessed film production values Wes Anderson would remain a AAA-rated cineaste year in and year out. The level of detail that went into every square inch of “Moonrise Kingdom,” which had its premiere here in Cannes a few hours ago, is above perfection. But “Moonrise” fails on other levels. Adult characters wretchedly watch as their kids go about resolving the problems of their day (only to finally prevail, at the very

Comic book mavens rejoice, for Marvel Studios has concocted a heady and wonderful sensory brew in “The Avengers.” Weaving together the origin stories of Iron Man, Thor, Hulk, and Captain America, “The Avengers” packages a star-studded cast, one that could easily have imploded under its own weight, into a fleet-footed, yet cohesive, plotline. Nefarious forces from other worlds threaten Earth, led by the sneering and magnetic trickster god

Tahrir Square, one day during the Arab Spring. A young demonstrator falls for a camel shepherd who's under the influence of Hosni Mubarak’s militias. Two people standing on opposite side of the biggest conflict Egypt has seen in nearly half a century are brought together against all expectations. Egyptian filmmaker Yousry Nasrallah wrote and directed “After the Battle” (“Baad El Mawkeaa”) which will be competing for

Russian filmmaker Sergei Loznitsa will be at the Cannes Festival again this year, competing for the Palme D'Or. This time he presents "In the Fog," a feature film adaptation of a novel set in the darkest recesses of World War II, when Russians accused each other of fomenting with the enemy and soldiers turned on civilians. The memory of war is a difficult burden to bear but the need to memorialize a tragedy is as vital today as it was at the outset

The revolt sweeping across the Middle East these last couple of years will figure highly at the Cannes Festival, and it’s no coincidence.

“The Sermon at Tobrouk,” a documentary by French philosopher Bernard “B.H.L.” Henri-Lévy (pictured below in Libya in September 2011) shot over the final eight months which led to the downfall of Kaddafi will be shown as a special screening. Henri-

Director Tanya Wexler is no stranger to Hollywood: as Darryl Hannah’s younger half-sister she spent some of her formative years on the set of “Blade Runner” and soon saw filmmaking as a viable career choice. Fortunately for us it's the road she took, her new feature film “Hysteria” marking Wexler’s major debut. The premise is enough to incite giggles among the biggest cynics: an idealistic young physician (Mortimer Granville, played by Hugh

Filmmaker Julie Delpy’s latest opus “2 days in New York” is the sequel to 2007's “2 days in Paris” (thankfully the film itself is more original than its recycled title). Delpy, a certified auteur, brought her own writing, directing and acting to the screen via a narrative that’s as personal as it is familiar. Delpy’s relationship with Adam Goldberg , her love interest from “Paris,” has dissolved. She’s since moved to New York where she takes up photographer duties

There’s a great movie lurking somewhere within the nagging clichés of “Death of a Superhero.” Adapted by Anthony McCarten from his 2008 novel, the film should be applauded for its strikingly morbid animation sequences, a winning lead performance from young up-and-comer Thomas Brodie-Sangster and an effectively solemn turn from the normally hilarious Irish comedienne Sharon Horgan. But with director Ian Fitzgibbon at the helm