It’s no accident that this past weekend—a year to the day after Charlottesville—saw the premiere of Spike Lee’s BlacKkKlansman. That event and its repercussions had been on Lee’s mind throughout production. Off the back of a healthy rollout for the film—with Lee’s best box office results in over a decade—the resonance…

After flirting with genre in courtroom drama The Third Murder, which bowed at Venice last year, Japan's Hirokazu Kore-eda—a regular face at Cannes since the early 2000s—made a return to familiar ground, not to mention a quick turnaround, with his new film Shoplifters. Having said that, Shoplifters isn't quite what it…

An early hit with festivalgoers who prefer to look outside the Official Selection, Jaime Rosales's Directors’ Fortnight entry Petra proved the Spanish director to be a fluid and unpredictable talent. Arguably most famous—or perhaps infamous—for the almost entirely dialogue-free 2008 Basque terrorist drama Bullet in the…

Making its international premiere in Directors’ Fortnight, Debra Granik's acclaimed Sundance title Leave No Trace left many veteran festivalgoers wondering why so many inferior films had managed to leapfrog it into the Official Selection. Told with great narrative economy, and featuring two sublime performances, the…

Amid the opening of Saudi Arabia's movie theaters and a push to send an overall message that the Kingdom is open for business, representatives of the General Culture Authority and the Saudi Film Council had a huge first-time presence at the Cannes Film Festival this year. GCA CEO Ahmad Al-Maziad came by Deadline's Cann…

In April last year, Keshet Media Group launched feature development and production division, Keshet Films, under its Keshet International subsidiary Keshet Studios and headed by award-winning producers Mandy Tagger and Adi Ezroni. Making a first trip to the Cannes Film Festival, the pair visited Deadline's Cannes Studi…

Following in the slipstream of his 2015 3D porno Love, Gaspar Noé's latest film, Climax, didn't disappoint fans of the famous iconoclast, who presented it outside the official selection in the Directors’ Fortnight. Set in Paris, it tells the story of a rag-tag group of street dancers who gather in a church hall to…

In theory, Gilles Lellouche's sophomore film Sink Or Swim would appear to be yet another zany screwball comedy—French star (and sometime Bond villain) Matthieu Almaric plays an unemployed man who joins an amateur synchronized swimming team to break the boredom. In practice, though, it is a surprisingly thoughtful…

A tender, colorful lesbian love story set in the bustling streets of Nairobi, Wanuri Kahiu's Rafiki was an early hit at this year's Cannes film festival, screening in the Un Certain Regard sidebar. Sadly, the film was not so warmly received in Kenya, where the authorities—much like the broader community in Kahiu's…

When Steven Yeun left his longtime role as the ill-fated Glenn on AMC’s mega-hit zombie apocalypse show The Walking Dead, he could have found it difficult to shake off that mantle. But at Cannes this year, Yeun has embraced a more unconventional thriller in the form of Lee Chang-dong’s Burning – loosely based on…

Ramin Bahrani (99 Homes, Man Push Cart) adapts Ray Bradbury’s Fahrenheit 451 for HBO this week, and after its gala premiere at the Cannes Film Festival on May 12th, stars Michael Shannon and Sofia Boutella stopped by Deadline’s Cannes Studio to explain their interest in the project. For both actors, the opportunity…

Marie Monge, a Deadline One To Watch this year, received strong notices for her debut feature, Treat Me Like Fire (Joueurs) here in the Directors' Fortnight section. The film stars Tahar Rahim (A Prophet, The Looming Tower) and Stacy Martin, a breakout in Lars von Trier's Nymphomaniac. The trio visited the Deadline Can…