‘Should I buy a flat in Bracknell or make a film in Transylvania?’
First-time director Peter Strickland tells Ronald Bergan how he came to make a revenge movie in a language he didn't speak with little money and no experience
Katyn
Hats off to Polish director Andrzej Wajda, who has had the courage to say the unsayable about a wartime scandal. By Peter Bradshaw
Soi Cowboy
Peter Bradshaw: A disturbing drama by a British talent set in Thailand's red-light district
DVD review: The Class
A wonderful reconstruction of school life and its tedious routine, says Rob Mackie
From the catwalk to the favela
Sam Mendes gets wacky, Steven Soderbergh tackles vice and Brazil does a Billy Elliott. As the Edinburgh film festival kicks off, Peter Bradshaw picks his top 10
Pierrot le fou
This sparkling, anarchic 1965 thriller is vintage Godard
A Girl Cut in Two
Chabrol's latest foray into the French provinces fails to charm Philip French
Everlasting Moments
A study of early 20th-century working-class life in Malmö from a veteran of the Bergman era is a masterpiece with a towering central performance, says Philip French
Irréversible’s Noé reverses for ‘sentimental’ Cannes contender
Audiences at the Cannes film festival could be in for a shock with Gaspar Noé's Enter the Void – no violent rape scenes but instead, the director tells Geoffrey Macnab, a melodrama
Everlasting Moments
An intelligent and optimistic - if a tad unambitious - Swedish film, says Andrew Pulver
Mark of an Angel
Catherine Frot creates a moving, assured portrayal of a damaged woman, says Andrew Pulver
Pierrot le Fou
A dramatised commentary on the action that is ultimately a commentary on cinema itself, says Peter Bradshaw
A touch of Spring Fever infects Cannes film festival hacks
With the Cannes film festival now officially under way, the jostling to get into screenings is now in earnest. Did someone say 'VIP guest list'?
Delta
A solemn, slow-motion version of Straw Dogs with the wrong side winning, says Philip French
Blue Eyelids
Some tenderness and shuffling truths, but not enough to demand the audience's attention, says Philip French