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At Cannes, Inspiration From Ancient Romans and Modern Women
Though the history-inflected “Furiosa” and “Megalopolis” were the hottest tickets, films by Andrea Arnold and Rungano Nyoni proved to be discoveries.
By Manohla Dargis
Though the history-inflected “Furiosa” and “Megalopolis” were the hottest tickets, films by Andrea Arnold and Rungano Nyoni proved to be discoveries.
By Manohla Dargis
The festival opened with questions for the jury about Indigenous representation, #MeToo rumors and other timely topics.
By Kyle Buchanan
Emma Stone and Christopher Nolan were among the winners celebrating at the official after-party of the Academy Awards.
By Kyle Buchanan, Nicole Sperling and Sinna Nasseri
Greta Gerwig, you’re not alone. These artists and films memorably — outrageously in our view — got the brush-off from the academy. We’re still in disbelief.
By The New York Times
The number of top films with actresses in leading roles was the lowest in a decade, and women have been joining the film academy at a considerably slower rate.
By Nicole Sperling and Ella Koeze
Greta Gerwig, the co-writer and director of “Barbie,” narrates this musical sequence, including Ryan Gosling’s performance of the song “I’m Just Ken.”
By Mekado Murphy
Songs from the soundtrack to Greta Gerwig’s blockbuster have 11 nominations on Sunday night, led by Billie Eilish’s heart-wrenching “What Was I Made For?”
By Jeremy Gordon
Though “Oppenheimer” made an explosive showing when the Oscar nominations were announced on Tuesday morning, plenty of other would-be contenders failed to launch. Here is our analysis of the biggest surprises and omissions.
By Kyle Buchanan and Karen Hanley
Pamela Paul thinks not. Our letter writers are split. Also: Donald Trump’s opposition to a border deal in Congress; an Israel-Hamas cease-fire?
There’s a crucial difference between liking the idea of a movie and liking the movie itself.
By Pamela Paul
A pesar de la ausencia de la directora de “Barbie” en la categoría de Mejor dirección, esta vez la Academia ha considerado el trabajo de más directoras.
By Kyle Buchanan
The former presidential candidate joined the chorus of disappointment in the omission of Greta Gerwig and Margot Robbie from the best director and best actress Oscar categories.
By Maya Salam
There’s a way to classify screenplays for Oscar consideration that would reward creativity and make much more sense. Unlike the current system.
By Alissa Wilkinson
Greta Gerwig and Margot Robbie missed Academy Award nominations for director and actress, respectively — a fact that was a little too on the nose for some.
By Joseph Bernstein
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“Barbie” scored a best-picture nomination and scooped up eight nods overall. Several factors could have led to Gerwig’s omission.
By Kyle Buchanan
It was a strong year for female directors overall, though the academy still seems to frown on younger male actors.
By Kyle Buchanan
Aunque se espera que a “Oppenheimer”, “Barbie” y “Los asesinos de la Luna” les vaya bien, la contienda entre los directores no está para nada decidida y otras categorías también están abiertas.
By Kyle Buchanan
While “Oppenheimer,” “Barbie” and “Killers of the Flower Moon” are likely to do well, the directors race is hardly set and other categories are open, too.
By Kyle Buchanan
Algunas personas lloraron al escucharlo. Otras, creen que es una simplificación del feminismo. La actriz siempre supo que esas líneas serían memorables.
By Carlos Aguilar
Hollywood usually looks to the annual awards as a party, but this year they also have an unlikely mission: A bid for relevance.
By Sarah Bahr
The key moment in the smash hit went through many revisions: “We ended in tears. It ended in laughter, it got big, it got small.”
By Carlos Aguilar
The director and writer behind “Barbie,” “Little Women” and “Lady Bird” will help pick the winner of next year’s Palme d’Or, the festival’s main prize.
By Alex Marshall
The Korean American drama from Celine Song got four nominations, while Swift’s concert film got one. “The Color Purple” was overlooked for best musical.
By Kyle Buchanan
The company’s approach has paid off to a degree that even the C.E.O. could hardly have believed possible.
By James B. Stewart
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The delay of some big titles, like “Dune: Part Two,” has ramifications for coming releases like “May December” and “Killers of the Flower Moon.”
By Kyle Buchanan
If studios greenlight more movies about toys, they’ll be missing the point. Greta Gerwig’s hit is about smart filmmaking, not brand awareness.
By Kyle Buchanan
Before Margot Robbie’s live-action take on the doll, Mattel put out more than a dozen animated films that have an avid following, even now.
By Sarah Bahr
For women maybe first, and for men too, eventually, less wedlock means more woe.
By Ross Douthat
In our cynical era, we need cringe music. Enter the Indigo Girls.
By Lydia Polgreen
No movie in Warner Bros. history has sold so many tickets so fast, the studio said of the movie directed by Greta Gerwig.
By Brooks Barnes
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