All Directors' Fortnight articles
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Reviews‘Vertiginous’ review: Quentin Dupieux’s outre comedy tackles complex issues of identity through crude animation
The French auteur’s latest work closes Cannes Directors’ Fortnight
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News’I See Buildings Fall Like Lightning’ wins Directors’ Fortnight audience award
The People’s Choice award launched in 2024.
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NewsSarah Arnold’s Cannes Directors’ Fortnight premiere ‘Too Many Beasts’ wins Europa Cinemas prize
Arnold’s feature debut will now receive the support from the European exhibition network during its release.
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Reviews‘9 Temples To Heaven’ review: A poignant family road trip across contemporary Thailand produced by Apichatpong Weerasethakul
Sompot Chidgasornpongse’s Cannes Directors’ Fortnight title balances ritual, memory and familial tensions with a light touch
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Reviews‘Red Rocks’ review: Bruno Dumont assembles a charming young cast for his beguiling childhood fantasy
Dumon’s distinctive, accessible new feature bows in Cannes Directors’ Fortnight
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Reviews‘Death Has No Master’ review: Asia Argento finds herself adrift in heady, uneven Venezuelan drama
Jorge Thielen Armand’s hallucinatory thriller premieres in Cannes Directors’ Fortnight
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FeaturesClio Barnard on ‘I See Buildings Fall Like Lightning’: “It’s about housing and how f**ked up that is”
Clio Barnard is the only high-profile UK filmmaker selected for this year’s Cannes Film Festival, with I See Buildings Fall Like Lightning in Directors’ Fortnight.
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Reviews‘I See Buildings Fall Like Lightning’ review: Clio Barnard’s Birmingham friendship drama builds on its strong performances
The ‘Ali & Ava’ director’s Cannes Directors’ Fortnight title stars Joe Cole, Lola Petticrew and an excellent UK cast
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Reviews‘Low Expectations’ review: Understated Norwegian depression drama stars singer Marie Ulven
Ulven, aka Girl in Red, impresses in Eivind Landsvik’s debut of burnout and recovery
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Reviews‘Dora’ review: K-pop star Kim Do-yeon heads July Jung’s feverish South Korean psychodrama
Jung follows ‘Next Sohee’ and ‘A Girl At My Door’ with Cannes Un Certain Regard title
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Reviews‘Viva Carmen’ review: Sébastien Laudenbach follows ‘Chicken For Linda!’ with vivid animated take on Bizet’s ‘Carmen’
Laudenbach’s third feature premieres in Cannes Directors Fortnight before moving on to Annecy
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Reviews‘La Perra’ review: Chile’s Dominga Sotomayor returns with a visually rich island drama
A solitary woman’s bond with an abandoned dog anchors this textured Chilean film in Directors’ Fortnight
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Reviews‘Shana’ review: Impressive French debut makes the most of a propulsive performance from newcomer Eva Huault
There are shades of ’Anora’ in Lina Pinell’s feature debut, which premieres in Cannes Directors’ Fortnight
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NewsDirectors’ Fortnight’s ‘Clarissa’ filmmakers on their next feature and the future of Nigerian cinema
Arie and Chuko Esiri have co-directed a modern-day adaptation of Virginia Woolf’s ’Mrs Dalloway’.
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Reviews‘Clarissa’ review: Sophie Okonedo, David Oyelowo anchor bold Lagos-set ‘Mrs Dalloway’ adaptation
The Esiri brothers’ Cannes Directors’ Fortnight title relocate Virginia Woolf’s potent themes to modern Nigeria
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NewsUK producer Tracy O’Riordan on ’I See Buildings Fall Like Lightning’, rallying for arts funding and future projects
O’Riordan is attending Cannes with Clio Barnard’s Directors’ Fortnight title, ‘I See Buildings Fall Like Lightning’.
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Reviews‘Thanks for Coming’ review: Alain Cavalier’s playful final chapter to his long-running filmed diary
The 94-year-old director’s farewell film plays in Directors’ Fortnight
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Reviews‘Atonement’ review: Involving, balanced US-Iraq war drama stars a magnetic Hiam Abbass
Boyd Holbrook and Kenneth Branagh also star in Reed Van Dyk’s Directors’ Fortnight debut
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Reviews‘The Diary Of A Chambermaid’ review: Radu Jude adapts the 1900 novel into a biting commentary on the modern class divide
Melanie Thierry, Vincent Macaigne and Ana Dumitrascu star in the Romanian director’s restrained Directors’ Fortnight title
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Reviews‘Gabin’ review: Delicate, absorbing doc follows 10 years in the life of a boy in rural France
Maxence Voiseux’s debut documentary premieres in Cannes Directors’ Fortnight