In “Nelyubov” (“Loveless” in the original Russian) a twelve year-old boy recedes slowly into oblivion as his parents go through a separation, more or less forgetting about his existence. His mother meets a successful company executive and his father’s new girlfriend is already well into her pregnancy, the two preparing to start a new family. After their child disappears, the future divorcés call the police, triggering an inquiry

Young Ben is in want of a father he’s never known, and Rose (young Millicent Simmonds), a deaf child who lives a hundred years earlier than him, is fascinated by a mysterious New York actress (played by Julianne Moore). After Ben discovers something in his mother’s (Michelle Williams) things he takes off for New York City to try and find his father. Rose comes into a hint, found in a newspaper clipping, and takes a boat ride to Manhattan in search of the actress.

Disappointment, “Ismael’s Ghosts” is not the near-perfect film that “My Golden Days,” which screened at Cannes last year, was. Desplechin’s new film, which launched this year's Cannes Film Festival this morning (Cannes is celebrating seventy this year) is sketchy and brutal and impertinent and camp. It has some grand, theatrical dialogue (and it works well), like its predecessor from last year, memorable lines, like, "I will rip your mask off and make a prince out of you.”

Is social media a waste of time, as David Remnick said? Maybe so. But Twitter, Instagram and the rest make keeping up with other people's lives easy and free. Where the Cannes festivalgoer is concerned, a spur-of-the-moment video on Instagram by a filmmaker can potentially add insight into what they're experiencing. At the same time, it's important not to lose touch of the fact that social media is often as vapid as it is useless

"Based on a true story" ("D'après une histoire vraie" in the French original) is the latest film by Roman Polanski, and a late addition to this year's Cannes program. The film was adapted from the namesake novel by author Delphine de Vigan. In it, a writer (played by French actress Emmanuelle Seigner, Polanski's real-life wife) living in Paris publishes an autobiographical novel, and it does not go over well with her relatives who now

Will Smith, Jessica Chastain, Maren Ade, Fan Binbing, Park Chan-Wook, Paolo Sorrentino and Gabriel Yared (a French-Lebanese composer known for writing the score for "The English Patient") have just been announced as this year’s jurors at the 2017 Cannes Festival, celebrating seventy years this year. These brave men and women will help jury president Pedro Almodóvar in choosing a winner among this year's

This afternoon the Cannes Festival, still ensconced in their rue Amélie offices in central Paris, announced that Uma Thurman will preside over this year's Un Certain Regard jury. The Un Certain Regard ("a certain perspective") program offers a mishmash of diverse films by known and unknown filmmakers. Past jury presidents have included Isabella Rossellini and Pablo Trapero.

One of the films to appear out of competition this year at the Cannes Festival is Takeshi Miike's adaptation of the manga opus "Blade of the immortal" ("Mugen no Junin" in the romaji original). The film combines magic with swordsmen, valor, many good sword fights, and the need for revenge. Manji's (played by Japanese actor Takuya Kimura) younger sister is killed in front of him. He goes on a quest to avenge her. A mysterious

Gentlemen, start your engines!

The filmmakers, their movies, all of these, and more, were announced during a well-attended press conference at a grand movie theater on the Champs Elysées this morning.

Two notable comebacks this year are Fatih Akin, with “Aus Dem Nichts” (“In the Fade”) and John Cameron Mitchell, who was last in

CANNES FESTIVAL - Film critics and festival jurors: two divergent forces that make the weather for the eleven days that the festival lasts. And yet, there's hardly any consensus between the two, with nary an exception. Last night, "I, Daniel Blake" won the Palme D'Or. I'll venture that this is the film both jurors and press met each other halfway on. With last night's win Loach joins that small club whose members--eminent directors