Filmmaker Auden Lincoln-Vogel was in Cannes this year in support of “Bill and Joe go Duck Hunting,” which he's written and directed.

In “Bill and Joe Go Duck Hunting,” a slow and contemplative film that was a part of the Cinefondation program, two friends go on a duck hunting expedition and much vexation ensues, the great outdoors the setting for an oppressive “huit-clos” film that's punctuated by awkward silences and dark humor.

Cinema is now synonymous with these two words: Julia Ducournau. She is the director of "Titane," a film, all savagery and tenderness, that won the Palme D'Or last night at the Cannes Festival here in France. Why these two words? Because contemporary cinema heretofore takes risks and it's prothean and it's in step with the times and it pays tribute to its past and I can't think of a better incarnation for it right now than her, so say her name, Julia Ducournau.

After twenty years of working in the adult film industry in Los Angeles, Mikey Saber (Simon Rex), returns with his tail between his legs to Texas City, Texas, a small oil town south of Houston with twenty-two dollars in his pocket. He manages to convince his wife Lexi (Brie Elrod), with whom he’s separated, and his mother-in-law, to let him crash for a few days.

Promises are made. Mikey will find a job and he’ll put in his share of the rent.

CANNES, France - Ethics and civility are not synonymous with honor but it’s generally understood, by most, that if you adhere to an ethical and civil conduct in life, honor will naturally flow from it. The idea of honor endures more or less overtly in Iranian society, and Asghar Farhadi’s new film “A Hero” thrives on it as leitmotif. The honor of one man, a painter calligrapher, crushed by debt after a business venture goes south. The honor of those

CANNES, France - A passing of the torch, of sorts, happened this year in Cannes, quietly: Jafar Panahi, high priest of Iranian cinema, bestowed the title upon his son (figuratively, of course). The Panahi name also became synonymous with a film dynasty, the counterweight, if one were to unseriously look at world cinema as a congeries of fiefdoms, to the House of Makhmalbaf.

Panahi, whose films

France counts a growing number of filmmakers making cool cinema and getting their films into festivals like Cannes, Berlin and the Biennale. Names such as Julia Ducournau (“Grave”), Hafsia Herzi (“Bonne Mère”) and Eva Husson come to mind, all of whom are presenting films this year at Cannes. The latter has directed her fourth film, "Mothering Sunday." Her previous work, "The Girls of the Sun," left me cold

Overtly social issues-based cinema risk are boring unless you're a Ken Loach in which case it's not boring. Everyone knows, everyone is aware. As filmmaker you'll need to up the ante, a little. Mahamat-Saleh Haroun, with his new film "Lingui," appears to have not done this.

Amina lives with her fifteen year-old daughter Maria in a suburb of N’Djamena. Her world falls apart after she learns that her teenage daughter is pregnant. Amina herself had, in fact, experienced the same situation fifteen years earlier before being ostracized from her family.

“The Worst Person In The World” (“Verdens Verste Menneske” in the original Norwegian) directed by Joachim Trier and starring the architecturally-perfect Renate Reinsve, can be a little disconcerting at times. The story of a young thirtysomething who zigs and zags between professional aspirations, motherhood and men, is as entertaining as it can feel glossy and perfect (and not a stranger to clichés). Could this parade of well-filmed snapshots summarizing

To commit suicide is a weighty and personal matter, decency would have one take care of this business all on their own, without notifying anyone, let alone get several people to help you organize your sign-off party. But this is just what Monsieur Bernheim (France's eminent actor André Dussolier) asked of his two daughters, Emmanuelle (Sophie Marceau) and her sister (Geraldine Pailhas) after suffering a debilitating stroke, with more such events predicted

Todd Haynes has directed a thorough and entertaining film about The Velvet Underground, the sixties rock band that was managed by Andy Warhol and headlined by Lou Reed.

Haynes, whose film was produced by Christine Vachon (theirs being a successful collab over the last twenty years), cuts scenes from live shows with talking heads and occasionally layers