"I have aspirations for my stories to be like those of Homer - moving through the centuries & speaking to different audiences." Kazuo Ishiguro talks about the film adaptation of A Pale View of Hills #Cannes2025 theguardian.com/film/2025/may/…

"He's not a monster. He's a man who lost his aura". Juliette Binoche talks Depardieu & #MeToo on the opening day of #Cannes2025 theguardian.com/film/2025/may/…

Spoke with Robert De Niro at the Cannes film festival & it went a lot better than our last interview #Cannes2025 theguardian.com/film/2025/may/…

“Beautifully written, with an even more beautiful message, about human connection that’s so needed in the world right now.” We’re delighted to award Clear by Carys Davies the 2025 Ondaatje Prize, recognising the best literary work which evokes the spirit of a place.

Duncan was like the Guardian's samurai. Hugely impressive, borderline intimidating, but a deeply kind & gracious man theguardian.com/media/2025/may…

Ari Aster's Eddington: a Covid lockdown western. Starts out like a lean & mean Jim Thompson tale, gorges itself at the all-you-can-eat diner & stumbles through the 2nd half as a bloated, blunt & bleary satire. Shoots at everything. Mostly misses #Cannes2025

People will say that Kristen Stewart's THE CHRONOLOGY OF WATER could have been made by a moping, solipsistic teenager, like that's a bad thing. I kind of loved it. It's a really impassioned & impressive piece of work #Cannes2025

Rounding up the opening week of Cannes for ⁦The Observer New Review⁩ observer.co.uk/culture/the-cr…

First boos at the festival for the Lynne Ramsay, apparently, which naturally counts as a vote in its favour. It's good: fierce, gorgeous, hard going, everything we'd expect. Here's Peter Bradshaw's review theguardian.com/film/2025/may/…

My review of Madeleine Thien's extraordinary The Book of Records, a novel that is still wandering - very pleasingly - around my brain theguardian.com/books/2025/may…

Jafar Panahi's first interview in 15 years. We talk about his time in prison, his life in Iran & the art of making illegal films #Cannes2025 theguardian.com/film/2025/may/…

So much to cherish about Oliver Hermanus's The History of Sound, a big, sweeping 20s-set love story with shades of a certain film by Ang Lee & a soundtrack of primitive American folk. Paul Mescal & Josh O'Connor both on song & in harmony #Cannes2025

My review of Eugene Jarecki's hugely impressive Julian Assange documentary, The Six Billion Dollar Man #Cannes2025 theguardian.com/film/2025/may/…

One for the Cannes crowd: a playlist of songs from this year's festival. One track per film, sketchy & incomplete, so do feel free to pitch in. open.spotify.com/playlist/5sqSK…

Well, Kelly Reichardt's The Mastermind is a thing of beauty: an unhurried 70s-set crime drama that drifts like late autumn leaves through New England. Shot through with sadness & a longing for home. Loved it #Cannes2025

Wrapping up the choppy, stirring second week of Cannes for The Observer New Review #Cannes2025 observer.co.uk/culture/film/a…

Putting the festival behind us, until next time

Delighted for Jafar Panahi, Palme d’Or-winner. Here’s our exclusive interview with him from last week #Cannes2025

RIP Marcel Ophuls. The Sorrow and the Pity: one of the greatest documentaries ever made nytimes.com/2025/05/26/mov…

For ⁦The Independent⁩, what Linklater’s Nouvelle Vague has to say about the cult of the great director independent.co.uk/arts-entertain…