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French cinema

Two Highlights From the New York Film Festival Main Slate

October 16, 2026October 15, 2026 Kenji Fujishima 0 Comments 8 1 2, Adam Driver, Aftersun, Alice Bailey Johnson, All of a Sudden, Andor, art and empathy, arthouse cinema, Birgit Minichmayr, British cinema, Cannes Film Festival, capitalism, Carlos Reygadas, Charlotte Wells, dementia, Drive My Car, elder care, Emeric Pressburger, Everytime, experimental cinema, Federico Fellini, female friendship, Film at Lincoln Center, film criticism, film scores, French cinema, Gone to Earth, Gregory Oke, grief, Hard Truths, Heil Jupiter!, James Gray, Japanese cinema, JoBeth Williams, Kate OFlynn, Marion Bailey, Michael Clayton, Michael Powell, Mike Leigh, Miles Teller, mortality, movie reviews, New York Film Festival, New York Film Festival 2026, nursing homes, NYFF 2026, Paul Jesson, Pedro Pascal, Ryusuke Hamaguchi, social realism, social workers, surrealism, Tao Okamoto, Tender Loving Care, TIFF, Toronto International Film Festival, Virginie Efira, Widow's Bay

The probable last film from a British legend and the latest work from a Japanese master brightened this year’s edition of this festival of festivals.

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Hasta La Vista, Toronto, You Ended Strong

September 22, 2026September 28, 2026 Kaveh Jalinous 0 Comments Ah Girl, Arthur Harari, Canadian cinema, coming of age, documentary, French cinema, Hirokazu Kore-eda, Ian Bawa, Iranian cinema, Japanese cinema, La Gradiva, Léa Seydoux, Look Back, Mandeep Sodhi, Marine Atlan, Niels Schneider, Ong Xuan Jing, Pegah Ahangarani, psychological thriller, Rehearsals for a Revolution, Singapore cinema, Strong Son, The Unknown, TIFF 2026, Toronto International Film Festival

TIFF 2026’s final set of films include Marine Atlan’s stunning ‘La Gradiva’ to daring works from Iran, France, Japan, and Singapore

‘The Stranger’ Turns Existentialism Into Something Dangerous

April 26, 2026 Neal Pollack 3 Comments absurdism, Albert Camus, Algiers 1930s, arthouse cinema, Benjamin Voisin, best films 2026, black and white film, book adaptation, Camus adaptation, classic literature, colonial history, colonialism, culture criticism, existential philosophy, existentialism, film adaptation, film criticism, film reviews, foreign film, François Ozon, French Algeria, French cinema, French New Wave, Italian neorealism, Jean-Paul Sartre, media analysis, Meursault, movie reviews, Orson Welles adaptation, philosophy in film, Pierre Lottin, postcolonial themes, race and identity, Rebecca Marder, The Cure Killing an Arab, The Myth of Sisyphus, The Stranger, violence and morality

François Ozon’s elegant Camus adaptation finds new urgency in colonial Algiers

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‘The Knights of Guinevere’ Takes Us Into the Backrooms of Not-Quite-Disney

October 19, 2026October 22, 2026 William Schwartz 0

Glitch Studios brings a new nightmare drip for the kids

DOCUMENTARY Featured Stories FILM

You Can See Everything, Except the Truth

October 18, 2026October 22, 2026 Stephen Garrett 0

Featured Stories FILM

Two Disappointments in the New York Film Festival Main Slate

October 15, 2026October 19, 2026 Kenji Fujishima 0

DOCUMENTARY Featured Stories Netflix Streaming TELEVISION YouTube

With ‘Ultimate Traveler’ Another YouTube Creator Moves Into Streaming

October 13, 2026October 19, 2026 Robert Dean 0

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‘The Knights of Guinevere’ Takes Us Into the Backrooms of Not-Quite-Disney
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