Contributing writer

Joy C. Ashford

Latest Content

From Cannes: ‘A Feleségem Története’ (‘The Story of My Wife’) is All Shimmer and No Substance

In nearly three hours, “The Story of My Wife” gives the audience only one developed character (who’s not particularly compelling), a strange relationship that hardly seems worth saving, and a confused and undercut message on trust and control.

From Cannes: Portrait of an Artist: Eva Lanska

The Harvard Crimson sat down with Lanska at the 2021 Cannes Film Festival to discuss her path to directing, advice for young filmmakers, and what it takes to succeed as a woman in a notoriously difficult industry.

From Cannes: ‘Red Rocket’’s Portrayal of an Aging Porn Star is Rich, Intricate, and Socially Irresponsible

Baker fully immerses viewers into his subjects’ everyday lives to the point that you feel like you’re a part of them, and he brings that same level of research and immersion to “Red Rocket” — the story of a broke, aging porn star who returns to his small Texas town.

From Cannes: ‘Titane’’s Horror Will Dazzle and Liberate You

With “Titane,” Ducournau doesn’t just venture deeper into the disturbing and grotesque than most directors would dare. Rather, she breaks every possible rule about how to exist in a female body — and creates a glamorous, gory exploration of gender and gender fluidity that is unlike anything you’ve ever seen.

From Cannes: ‘Drive My Car’ Uncovers the Secrets of the Guilt-Ridden Soul

In “Drive My Car,” Hamaguchi guides viewers into the depths of grief and guilt with the careful understanding of someone who has been down those same roads — and, perhaps, has truly found a way out.

Cannes Par Jour: Days 4 & 5

I awoke the next day to yet another travesty: a theater that, unbeknownst to me, was a 20 minute bus ride away from the Palais. As you can likely guess, that was a little too much to ask of your favorite transportation-challenged lesbian.