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  • The Lure

    The Lure

    ★★½

    50/100

    Too allegorically-all-over-the-place, unfortunately. Throws ADDICTION, WOMANHOOD, MALE GAZE, IDENTITY etc at the wall and nothing sticks, because from a scene-to-scene basis, The Lure is inscrutable. Some wise narrative choices towards its latter half and a dollop of truly memorable scenes sustains the runtime, but it's hard not to feel that all the musical numbers and mermaid lore and provocative imagery offers little in the way of thematic heft. Instead, it just, er, treads water.

  • Daisies

    Daisies

    ★★★½

    66/100

    Not sure this was intended to be fun - certainly didn't feel like it to me. Restive edits appear less as entertainment and more as fleeting distractions - which, when considering the war-torn imagery that bookends Daisies, is an inspired choice. Chytilova poses anarchist antics as brief diversions, an 'out with the old and in with the new' modus operandi that could never last - the two girls gain the crowd as attention turns from ballroom dance to goofing…

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  • In Fabric

    In Fabric

    If this isn't your most anticipated film coming up this decade then what's wrong with you

  • Long Day's Journey into Night

    Long Day's Journey into Night

    ★★★★½

    90/100

    The best film of Cannes goes to Bi Gan’s Long Day’s Journey Into Night, a sleepy dreamscape that features an extraordinary second-half turn. Initially moving like molasses, Gan focuses on framing, lurid colour schemes and a terrific, minimalist, guitar-strumming score to maintain interest. We follow Luo Hongwu (Huang Jue), an ex-gang member, I think, who visits his hometown in search of a woman he briefly met and had fallen in love with.

    Images flit in non-linear, poetic fashion; a…