Sean Baker’s American dreams
The Oscar-winning director of Anora is an old-fashioned auteur fascinated by those on the margins, with little interest in big-budget…
ByOscars
How Emilia Pérez sabotaged its own Oscars campaign
The chaotic, crude film was nominated for 13 Academy Awards – then the media storm came.
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The show must go on for the Oscars
Also this week: The Wild Robot’s ode to mums and the triumph of Beyoncé’s Cowboy Carter.
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Why Barbie wasn’t snubbed
Also this week: Paul Giamatti’s struggling writers, and bad behaviour at the theatre.
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Why The Holdovers deserves Oscars
In a competitive awards season, this film may seem a modest proposition: but we should reward a funny, sad story,…
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There’s nothing funny about Hugh Grant punching down on the industry that made him famous
His career sits atop a pyramid of others, even lowly showbiz journalists, who could not do the same without risking…
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How The Fabelmans, a box-office bomb in the US, became an instant classic in France
French critics have hailed Steven Spielberg’s belated coming-of-age movie as a “magisterial” and “Truffaldian” masterwork.
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On the “war kitsch” of All Quiet On The Western Front
Edward Berger’s film of the novel has been lauded across the world. But in Germany it has met with negative…
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Good Luck to You, Leo Grande: the joy of paid sex
Emma Thompson stars in a touching celebration of an older woman’s erotic discovery.
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Why the father-daughter drama Aftersun deserves all the awards
This story of an 11-year-old (Frankie Corio) and her dad (Paul Mescal) is a moving, memorable and astonishingly accomplished debut.
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How Ireland’s violent history haunts The Banshees of Inisherin
Martin McDonagh’s Oscar-nominated film is set during the bloody conflict of 1922, but it is not a neat metaphor for…
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Michelle Yeoh flits between universes in the hyperactive Everything Everywhere All at Once
Daniel Kwan and Daniel Scheinert’s latest action-comedy brings a 21st-century approach to parallel-reality cinema.
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