Brace Your Heart, Amanda Kernell’s third feature film at the San Sebastian Film Festival.

Jesse Eisenberg's third directorial venture, The Debut, resonates deeply with audiences at the San Sebastián Film Festival. Set in Central New Jersey in 1990, the film unfolds in a community theater where auditions are underway for the role of Miss Danielle in the musical Nosy Neighbours. Mona, portrayed by Julianne Moore, auditions with the song “The City May Have Chewed Me Up (But It Can’t Spit Me Out),” but is quickly dismissed after just a few notes. However, when a renow

The San Sebastian Official Competition has once again provided a platform for cinematic excellence, this time highlighting the work of Spanish director Javier Ruiz Calder with his thought-provoking film, 5 More Minutes. This poignant narrative explores the tumultuous emotional landscape of a couple on the verge of separation, who retreat to the serene countryside for a brief respite. Their aim? To reflect on their relationship and consider the possibility of reconciliation, a

In My Father’s Room at the San Sebastian Film Festival

review by Loreta Gandolfi on Faith Akin's Ghost Song opening movie at the 74thSan Sebastian Film Festival

Argentinian Benjamín Naishtat's fifth feature film adapts the eponymous novel Glaxo (2009) by Argentinian novelist and Professor of Sociology Hernán Ronsino.

Each year in competition at Venice, there seem to be around three slots reserved for French directors, possibly of works that were rejected from Cannes’ main competition. With it not hurting to have stars for showcasing on the red carpet, and at the Sala Grande premiere, these selections sometimes fall to films that might not have a large theatrical life beyond western European territories; Cannes, by comparison, is where the French films that play across the world often firs

David Thomson, one of the most celebrated writers on the movies, made the subject of his latest book, A Sudden Flicker of Light, his skepticism about the very art form to which he’s dedicated his career. Cinema, he writes, is almost too powerful: the forcefulness of the big screen image, and the beautiful movie stars upon them, suspend our critical faculties and create dangerous illusions, and spring from a deeply corrupt industry themselves (although, he’s mainly referring t

The 2026 Venice Film Festival gets underway with both uncertainty and cautious optimism Despite the justified criticism of this year’s competition line-up, sight unseen, the opening few days of Venice always deliver. With the curators knowing that Wednesday-to-Thursday is the short window where the festival has maximum industry and press attention, before Telluride and Toronto kick off, us lucky folk in the press corps get to see three or four of the year’s most significant