The nominees for the 81st Golden Globe Awards were announced on Monday 11th December, with Greta Gerwig’s Barbie the most-nominated of the films chosen by the Hollywood Foreign Press Association.

Warner Bros’ Barbie was nominated across 7 categories, including Best Director, Best Screenplay, Lead Actress and Supporting Actor, with 3 nominations in the Original Song category for “Dance the Night Away”, “I’m Just Ken” and “What Was I Made For?”.

Justine Triet’s multi-time European Film Awards winner and the recipient of the 2023 Cannes Palme d’Or, Anatomy of a Fall, was nominated in both the Best Motion Picture – Drama category as well as the Best Motion Picture – Non-English Language category, as was Jonathan Glazer’s The Zone of Interest. The latter was also nominated in the Best Original Score – Motion Picture category alongside The Boy and the Heron, which is a leading name in the Best Motion Picture – Animated category beside Spider-Man: Across the Spider-Verse.

The 2024 Golden Globes will take place on 7th January 2024, and will be broadcast in the CBS in the US and in the UK on Paramount+.

The nominees for the 81st edition of the Golden Globe Awards (2024) are as follows:

Best Motion Picture – Drama
Anatomy of a Fall
Killers of the Flower Moon
Maestro
Oppenheimer
Past Lives
The Zone of Interest

Best Motion Picture – Musical or Comedy
Air
American Fiction
Barbie
The Holdovers
May December
Poor Things

Best Motion Picture – Non-English Language
Anatomy of a Fall
Fallen Leaves
Io Capitano
Past Lives
Society of the Snow
The Zone of Interest

Best Motion Picture – Animated
The Boy and the Heron
Elemental
Spider-Man Across the Spider-Verse
The Super Mario Bros. Movie
Suzume
Wish

Best Director – Motion Picture
Bradley Cooper (Maestro)
Greta Gerwig (Barbie)
Yorgos Lanthimos (Poor Things)
Christopher Nolan (Oppenheimer)
Martin Scorsese (Killers of the Flower Moon)
Celine Song (Past Lives)

Best Performance by a Female Actor in a Motion Picture – Drama
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Greta Lee (Past Lives)
Carey Mulligan (Maestro)
Cailee Spaeny (Priscilla)

Best Performance by a Female Actor in a Motion Picture – Musical or Comedy
Fantasia Barrino (The Color Purple)
Jennifer Lawrence (No Hard Feelings)
Natalie Portman (May December)
Alma Pöysti (Fallen Leaves)
Margot Robbie (Barbie)
Emma Stone (Poor Things)

Best Performance by a Female Actor in a Supporting Role in any Motion Picture
Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
Jodie Foster (Nyad)
Julianne Moore (May December)
Rosamund Pike (Saltburn)
Da’Vine Joy Randolph (The Holdovers)

Best Performance by a Male Actor in a Motion Picture – Drama
Bradley Cooper (Maestro)
Leonardo DiCaprio (Killers of the Flower Moon)
Colman Domingo (Rustin)
Barry Keoghan (Saltburn)
Cillian Murphy (Oppenheimer)
Andrew Scott (All of Us Strangers)

Best Performance by a Male Actor in a Motion Picture – Musical or Comedy
Nicolas Cage (Dream Scenario)
Timothée Chalamet (Wonka)
Matt Damon (Air)
Paul Giamatti (The Holdovers)
Joaquin Phoenix (Beau Is Afraid)
Jeffrey Wright (American Fiction)

Best Performance by a Male Actor in a Supporting Role in any Motion Picture
Willem Dafoe (Poor Things)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Charles Melton (May December)
Mark Ruffalo (Poor Things)

Best Screenplay – Motion Picture
Justine Triet, Arthur Harari (Anatomy of a Fall)
Greta Gerwig, Noah Baumbach (Barbie)
Eric Roth, Martin Scorsese (Killers of the Flower Moon)
Christopher Nolan (Oppenheimer)
Celine Song (Past Lives)
Tony McNamara (Poor Things)

Best Original Score – Motion Picture
Jerskin Fendrix (Poor Things)
Ludwig Göransson (Oppenheimer)
Joe Hisaishi (The Boy and the Heron)
Micachu (The Zone of Interest)
Daniel Pemberton (Spider-Man: Across the Spider-Verse)
Robbie Robertson (Killers of the Flower Moon)

Best Original Song – Motion Picture
“Addicted to Romance” by Bruce Springsteen
“Dance the Night” by Mark Ronson, Andrew Wyatt, Caroline Ailin, Dua Lipa
“I’m Just Ken” by Mark Ronson, Andrew Wyatt
“Peaches” by Aaron Horvath, Michael Jelenic, Eric Osmond, John Spiker, Jack Black
“Road to Freedom” by Lenny Kravitz
“What Was I Made For?” by Finneas O’Connell, Billie Eilish

Cinematic and Box Office Achievement
Barbie
Guardians of the Galaxy Vol. 3
John Wick: Chapter 4
Mission: Impossible – Dead Reckoning Part 1
Oppenheimer
Spider-Man: Across the Spider-Verse
The Super Mario Bros. Movie
Taylor Swift: The Eras Tour

For the full list of television nominees, please visit the Golden Globes website.

These debates are of relevance to this article because, in reality, the identities of the two clashing cultures (that of the Osage, and the all-consuming wave of capitalist USA) are largely irrelevant to the thematic core of the story. They are relevant in that they are only tangential to the beating heart of the point of the film. This specific filmic presentation of this storyline uses the Osage and white USA as two sides of the coin, but you could transplant this to colonial Africa with Britain exploiting the native peoples of those nations and it could be the same frame with differing cosmetics. Put a French colonial power in Vietnam or Morocco, and the same is there. Go to Tasmania and look at the occupying forces there, as Jennifer Kent did with her revenge western The Nightingale. The principals remain constant, an examination of the deliberate exercise of colonial, oppressional power over the native inhabitants of a land. This is what the surface level of Killers of the Flower Moon would have us take away.

Whilst KOTFM is based on a book (“Killers of the Flower Moon: The Osage Murders and the Birth of the FBI”, by David Grann), which is in turn based on real events, it is the specific presentation of events in Martin Scorsese’s film which are of discussion here. This film’s narrative, detailing the marriages and assassinations of Osage people at the hands of white locals in order for the white people to strategically inherit their oil-rich land, is not the centre of the film. It is not what it is all about. As is often the case, the plot and the story are different levels of communication.

Instead, the film is actually about the relationship between Ernest Burkhart (Leonardo DiCaprio) and William King Hale (Robert De Niro), and the exploitation of a malleable, weak individual by a stronger, more ambitious, and more ruthless mind. The plot goes along, but what drives it is the obedience and defiance of Burkhart to his powerful uncle. De Niro is the snake whispering in DiCaprio’s Eve of an ear with the promise of power from the metaphorical tree of knowledge. It is about evil corrupting those who are on the fence, and dragging them down to the ground. Once we realise this, we see that much of KOTFM plays out as a reinterpretation of William Shakespeare’s “Macbeth”, written over 400 years ago. Not everything lines up perfectly (that’s how reinterpretations work; Akira Kurosawa had the three witches changed for a single medium in Throne of Blood, for example), but there are enough similarities to line up fairly nicely.

Macbeth, warlord for King Duncan of Scotland, begins the play having just taken out Macdonald, an usurper to the throne. His penchant for violence is well noted, and in killing Macdonald, ‘unseam’d him from the nave to th’chops’. In KOTFM, Earnest Burkhart may not be quite that violent, but he does return at the film’s opening from WWI, so they both have that ability in them, having both returned from national combat. In Macbeth, the titular character is told of a prophecy that he will one day be king, which he expresses with his wife. Lady Macbeth then takes charge, constantly whispering to him that the prophecy will come true, that he will be king. She already has a plan. Everything will be OK. She tells her husband ‘look like the innocent flower,/ But be the serpent udner’t.’ The mention of flowers here is obviously mere coincidence in connection with the film’s title, but it is exactly this notion of being the evil hiding in plain sight under a notion of goodness which both Ernest and King act out in KOTFM. King is constantly giving out grants and finances to the community, and is fluent in the Dhegihan Siouan language of the Osage. Lady Macbeth, in Duncan’s words, is ‘our honour’d hostess!’. The similarities are plain to see in the setup. Lady Macbeth manipulates her husband into carrying out murders so that he will become King and inherit the country, and make her queen by default, which is what she is really after. In KOTFM, Ernest is manipulated by King to carry out murders so that Ernest will inherit the wealthy land, and King will get some of the wealth as a result. Once more, the whisperer in the ear is not so much concerned with the wellbeing of their familiar, but what their understudy’s success will mean for them.

A common misconception with Macbeth’s character is that he is a tyrant and ambitious warlord right from the start. He may well have ambition, but most of his actions are as a result of the persuasion of his wife, and then being in too deep to pull out. Macbeth asks before murdering the king what happens ‘If we should fail?’, and Lady Macbeth has to reassure him to ‘nail your courage to the sticking place,/ And we’ll not fail.’ He constantly questions whether what he is doing is right, hallucinating the murderous dagger before going to kill Duncan, his mind already fracturing under the pressure. After one murder, everything runs away from him, and he has no choice but to keep going. He must kill his friend, Banquo, not only because of the witches’ prophecy that Banquo will sire a line of kings, but because of Banquo’s tendency to sit on the fence about absolutes. Banquo is unsure about the intentions of the witches, ‘oftentimes, to win us to our harm,/ The instruments of darkness tell us truths,/ Win us with honest trifles…’ and even muses to himself as part of a soliloquy to open Act 3 Scene 1, about Macbeth becoming king, that ‘Thou play’dst most foully for’t…’ It’s clear that Banquo would never be on Macbeth’s side, for as much as he is Macbeth’s friend and similar in many ways (he is also a great warrior on the battlefield, and fought alongside Macbeth against Macdowell), he is always on the side of justice and so must be silenced. Macbeth therefore pays two assassins to take out Banquo to keep himself in power. After this, when Macduff flees, Macbeth brands him a traitor and must kill his family as a warning against uprising. He rules with the sheer intention of holding onto the power he was (to an extent) pressured into. With his wife’s persuasion, he has dug a hole, and he refuses to stop digging, instead continuing down in the hopes of an escape.

Ernest likewise finds himself executing more and more murders in order to maintain his position and keep himself close to King. He pays to have Harry Roan killed as part of King’s plan, but it goes wrong, showing that Ernest isn’t as completely in control of things as he would like to think. He later hires for the murder of more family members, which begins to put his wife Molly into a kind of surrogate role for three characters; that of Duncan (the one who holds the power), Banquo (someone he must kill, and appears, ghostlike, to haunt and prevent Ernest from keeping himself completely on the dark side), and eventually Macduff (when she goes to Washington to bring reinforcements to out the tyrant). Note that like Macbeth, Ernest is often reticent to kill himself, and on multiple occasions gets others to carry out his dirty work for him.

It is, tangentially, interesting that a deliberate highlighting of King’s membership to freemasonry is made in the outcome of the botched assassination of Roan, as this implies a belief in a supreme being. There are a lot of supernatural moments in Macbeth, from witches to prophecies to apparitions to ghosts, to the appearance of Hecate (for almost no reason except to tell the witches to go somewhere and have a musical number; got to maintain audience interest somehow). But Lady Macbeth also clearly believes in spirits, through her belief that the prophecy must come true, and explicitly in her speech calling to them; ‘Come, you spirits/ That tend on mortal thoughts…’ Once again, more parallels appear.

In the second half of Killers of the Flower Moon, the new Bureau of Investigation is brought into the scene by Molly, Ernest’s wife, fulfilling her role as a partial avatar for Macduff. Led by Jesse Plemons’ Tom White (who plays the military side of Macduff), a kind of army from a land far away (Washington standing in for England, in a twist of irony for American history), arrives in the town. The BOI is not exactly the moving copse of Burnham’s wood, but what is interesting is not necessarily the arrival of the cavalry, but what this does for Ernest, who the plot centres around.

In the final reels he undergoes a constant turmoil of emotions. This mix has been seen throughout in relation to his seemingly genuine affection for his wife, Molly, and at one point he swallows some of the poison he has been putting in her insulin. The similarity to Macbeth Act 3 Scene 2, where Macbeth is tormented by what he is doing, beautifully demonstrated by the famous line of ‘full of scorpions is my mind, dear wife!’, is interesting, as scorpions are known for their poisonous sting.

Three points are of note in the finale of the film and play in relation to this turmoil. Firstly, Ernest is initially convinced to fight on and defend King by the townsfolk (the white ones, at least), in order to preserve their way of life; after all, King is a great benefactor for the town. In Macbeth, despite the army marching toward them and the apparent tyrannical rule of Macbeth (Macduff describes him as the ‘fiend of Scotland’), he still has servants and doctors attending him, messengers, and so on. However, overcome by sorrow for his child who has passed away, Ernest decides to testify against King. This idea that the battle is perhaps lost is mirrored in Macbeth’s final soliloquy, where he stares into the abyss of time and finds life meaningless, the fighting pointless, the murder empty. Life, he says, ‘is a tale/ Told by an idiot, full of sound and fury,/ Signifying nothing.’ However, there is still a little of that bitterness in him. Macbeth still fights on, despite Macduff telling him that the prophecy has come true and Macbeth can die by his hand. He says, ‘I throw my warlike shield: lay on, Macduff;/ And damn’d be him that first cries ‘Hold, enough!’ Similarly, Ernest can’t admit to Molly, when she has recovered and she knows he was poisoning her, even with prison just around the corner, that he was putting the poison in the insulin. Like Macbeth, there’s still that initial grain of darkness left inside him. It’s not a big, eye-popping finale as seen in Justin Kurzel’s direct 2015 adaptation, but it is a moving finale nonetheless.

This article hasn’t been to say that Scorsese deliberately set out to make a new version of a classic Shakespeare tale with this film. It’s not even to say that Scorsese must have been deliberately conscious of Macbeth when adapting the script. Indeed, most of the elements (though shifted and changed a little for dramatic purposes), were based on the real serial murders of innocent people – the real Ernest Burkhart and William King Hale were despicable individuals. For all of the extraordinary influence of The Bard, he didn’t create these people. Additionally, by saying that this presentation of the narrative echoes Macbeth should not in any way be taken as a suggestion that it reduces these figures to caricatures. Real lives were lost needlessly and cruelly by individuals hellbent on murder for their own material gain.

What it does hope to show, however, is how much William Shakespeare was able to put a finger on human nature, and how he was seemingly able to immortalise it in a narrative that has its unconscious echoes throughout time, to be rediscovered in the most unlikely of places. The real history and folklore that inspired Shakespeare to write Macbeth were not invented by him, but he found a way to use it to shine a light on the folly of humankind, and the corruption underneath polite society. That these narrative ideas find their way across the centuries, across the waters, to Scorsese’s film (which did have script changes in development, showing that differing perspectives and angles even to real events are possible), proves if nothing else that cinema as a medium has harsh truths inside its beams of light. That these stories are still relevant, redigested, disguised, and re-presented, is both a damning proof of humanity’s inability to learn from its past, and a testament to storytelling’s continued effort to plead with us to listen.

Recommended for you: Killers of the Flower Moon (2023) Review

Killers of the Flower Moon (2023)
Director: Martin Scorsese
Screenwriters: Eric Roth, Martin Scorsese
Starring: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, John Lithgow, Brendan Fraser, Cara Jade Myers, Janae Collins, Jillian Dion

Is there any greater betrayal than the betrayal of someone who loves you? This is the central question at the heart of Martin Scorsese’s newest epic, Killers of the Flower Moon. Starring the renowned director’s long-time and dearly loved collaborators Robert De Niro and Leonardo DiCaprio, alongside Lily Gladstone, Killers of the Flower Moon is an adaptation of David Grann’s explosive book of the same name. 

The book, published in 2017, investigates a series of gruesome murders in Osage County, Oklahoma, following the discovery of large oil deposits on Native American land, alongside the birth of the Federal Bureau of Investigation (FBI). Although the book is credited as Scorsese’s source material, Killers of the Flower Moon reads more as a companion piece to Grann’s novel, with Scorsese finding a unique perspective from which to access this insidious tale. 

Scorsese’s three-and-a-half-hour-long true-crime epic finds its footing within the love story between Ernest and Mollie Burkhart. Ernest, played by Leonardo DiCaprio, is a newcomer to the small but affluent Osage County. Upon arrival, and with much encouragement from his persistent uncle, William Hale (Robert De Niro), a man who insists that his friends and family call him King, Ernest meets Mollie (Lily Gladstone, Certain Women). Mollie, an Osage-born native, like several members of her tribe, is a multimillionaire, owing to the plentiful amounts of black gold found upon her family’s land. In antithesis to the barren western town upon which our stage is set, First Nation people ride around in chauffeur-driven cars and wear expensive furs. They appear as the image of wealth and prosperity, although access to their money must be first justified and requested through their white trustees. 

Ernest, fresh from the war, is upfront about his desire for wealth: ‘I just love money’ he declares playfully throughout the film, slowly revealing himself as a man willing to scheme and bend the law to get the cash to flow in his direction. William Hale, a wealthy cattle farmer in his own right, is consumed by a desire for the oil deposit ‘headrights’ on Mollie’s land, the pursuit of which he considers fair game. The only thing standing in his way is Mollie and her family. Hale, well versed in the legal benefits of marriage, encourages his family to pursue the young and stupidly rich Osage women so they might reap the benefits of inheritance should any unfortunate event befall them. One by one, Mollie’s family starts to dwindle: unexplainable illness, murder, and unprecedented explosions begin to plague the family until all of the headrights conveniently rest with Mollie and her husband Ernest. 

Leonardo Dicaprio, who ran from the set of Titanic directly into Martin Scorsese’s arms, gives one of the best performances of his career as Ernest. The melancholy downward turn of his mouth and slow southern drawl indicate a simpleton, incapable of fully understanding the atrocity of William Hale’s plot against his wife and her family. DiCaprio presents us with the enigma of a man consumed with love for a woman he is actively trying to murder. Across from him is Lily Gladstone, who plays Mollie with a steadfast sensibility and awareness of the men around her. She has Earnest and his family pegged from day one, her wry smile and persistent calmness indicating that she is always one step ahead of any danger that might present itself. Yet love, which has the power to hoodwink even the sharpest of minds, gets in her way.

As the murders progress, so does Molly and Ernest’s relationship. In between harrowing scenes of grief and murder, we see them cling to each other desperately for comfort. He takes her into his arms while she struggles with the agony of her grief. He learns her language and traditions, and they parent three children, who they protect and adore fiercely. With each fresh death, Mollie’s circle grows smaller, and Ernest becomes the last man she can trust. How couldn’t she? We watch as he begs and pleads with her to take a life-saving new drug (insulin) that will regulate her diabetes, as if he isn’t the one also spiking the medication with a poison that will slowly kill her. ‘I love this woman’ he tells his uncle sincerely, as Hale explains the uncanny way Osage women never manage to live to a ripe old age.

As Hale, Robert De Niro circles like a vulture, conjuring the same chilling presence he portrayed as Max Cady in Scorsese’s remake of the revenge classic Cape Fear. The potency of his performance bleeds out of the screen, filling all empty space with a feeling of looming threat. Hale has seeded himself deeply into the Osage community as a friend and ally, offering up reward money to anyone who might have information about the suspicious deaths creeping up all around them. Like Jack Nicholson’s Costello in The Departed, Hale is above the law, and he’s become cocky and psychopathically devoid of loyalty and love.

Killers of the Flower Moon is nothing short of a masterpiece from our greatest living filmmaker. Although the film’s stealthy runtime might feel harsh on our bladders, the film is extremely well-placed; the story blooms organically and doesn’t waste a single second. Scorsese’s mastery of filmmaking is apparent in every single frame; he understands exactly where the camera needs to be, and it dances beautifully within the story, offering us an immensely satisfying masterclass in storytelling. This is the first time Scorsese’s two best boys have shared the screen in a Martin Scorsese picture, and the result is electric. The film feels like an extension of their friendship and shared legacy. There is a collective sense that the three men are comfortable enough with one another to experiment and take chances with our expectations. Gladstone, alongside an impossibly talented supporting cast, keep the boys on their toes, taking the iconic trio to unseen heights.

The film’s greatest strength is the unique vantage point from which it approaches the atrocities. Although the crimes depicted on screen happened many years ago, the treatment of the First Nation people throughout America’s vast history is still an open wound. Scorsese, like Grann, approaches his work with the utmost respect and care. To escape the connotations of Westerns and crime dramas, which typically circle the white-lead adventures of cowboys and lawmen, Scorsese dives right into the heart of the truth, presenting Killers of the Flower Moon as a love story. While the great filmmaker still utilises the atmospheric soul of the Wild West, by presenting a more human perspective, he cuts right to the centre of the raw open heart of a woman in love, and we feel the sting of betrayal tenfold. 

Score: 24/24

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The Cannes International Film Festival will premiere new films from influential British filmmakers Jonathan Glazer and Ken Loach, as well as Japanese Palme d’Or winner Hirokazu Kore-eda, as part of its 2023 festival line-up.

Announced by general delegate Thierry Frémaux and incoming president Iris Knobloch during a press conference from Paris, France on Thursday 13th April, the 2023 Cannes International Film Festival will also debut new films from Todd Haynes, Wes Anderson and Wim Wenders.

Of the films listed to be in competition at the festival, six have been directed by women. This is a new record. Press and visitors can expect new films from former Palme d’Or-nominated directors Alice Rohrwacher (Happy as Lazzaro) and Jessica Hausner (Little Joe) among others.

The opening film of the festival will be Jeanne du Barry from French actress and director Maïwenn, about the last official mistress of Louis XV (set to be played by Johnny Depp).

Jeanne du Barry will be presented out of competition alongside Martin Scorsese’s Killers of the Flower Moon, Kim Jee-won’s Cobweb, Sam Levinson’s The Idol, and James Mangold’s Indiana Jones and the Dial of Destiny.

There will also be a special screening of the latest film from British filmmaker Steve McQueen (12 Years a Slave), Occupied City, a documentary about life in Amsterdam, Netherlands during the Nazi occupation of World War II.

The debut of Jonathan Glazer’s adaptation of Martin Amis’ “The Zone of Interest” will mark the first feature release by the Sexy Beast director since 2013’s critically-acclaimed Under the Skin. The Zone of Interest tells of a Nazi officer falling in love with the wife of the commander of the Auschwitz concentration camp and will star Toni Erdmann’s Sandra Hüller.

Meanwhile, Kes director Ken Loach will debut his first film since before to the pandemic. The British filmmaker, last at Cannes with Sorry We Missed You, directed Palme d’Or winners The Wind that Shakes the Barley (2006) and I, Daniel Blake (2016). His latest film, The Old Oak, will see him reunite with screenwriter Paul Laverty to tell of the tensions between UK immigrants and the small north east village they are housed in.

Hirokazu Kore-eda, whose films have been nominated for the Palme d’Or six times, is another former Palme d’Or winner (Shoplifters) returning to the south of France in 2023. Kore-eda’s latest film, Monster, is currently being kept top secret, though it will reunite the Japanese director with his Shoplifters star Sakura Ando.

The only other Palme d’Or winner to return in 2023 will be Turkish filmmaker Nuri Bilge Ceylan, whose film Winter Sleep won the prestigious award in 2014. Ceylan also won Best Director at Cannes in 2008 for Winter Sleep.

The line-up for the 2023 Cannes International Film Festival is as follows:

In Competition

CLUB ZERO Jessica HAUSNER
THE ZONE OF INTEREST Jonathan GLAZER
FALLEN LEAVES Aki KAURISMAKI
LES FILLES D’OLFA Kaouther BEN HANIA
ASTEROID CITY Wes ANDERSON
ANATOMIE D’UNE CHUTE Justine TRIET
MONSTER KORE-EDA Hirokazu
IL SOL DELL’AVVENIRE Nanni MORETTI
L’ÉTÉ DERNIER Catherine BREILLAT
KURU OTLAR USTUNE Nuri Bilge CEYLAN
LA CHIMERA Alice ROHRWACHER
LA PASSION DE DODIN BOUFFANT TRAN ANH Hùng
RAPITO Marco BELLOCCHIO
MAY DECEMBER Todd HAYNES
JEUNESSE WANG Bing
THE OLD OAK Ken LOACH
BANEL E ADAMA Ramata-Toulaye SY
PERFECT DAYS Wim WENDERS
FIREBRAND Karim AÏNOUZ

Un Certain Regard

LOS DELINCUENTES Rodrigo MORENO
HOW TO HAVE SEX Molly MANNING WALKER
GOODBYE JULIA Mohamed KORDOFANI
KADIB ABYAD Asmae EL MOUDIR
SIMPLE COMME SYLVAIN Monia CHOKRI
CROWRÃ João SALAVIZA; Renée NADER MESSORA
LOS COLONOS Felipe GÁLVEZ
OMEN Baloji TSHIANI
THE BREAKING ICE Anthony CHEN
ROSALIE Stéphanie DI GIUSTO
THE NEW BOY Warwick THORNTON
IF ONLY I COULD HIBERNATE Zoljargal PUREVDASH
HOPELESS KIM Chang-hoon
TERRESTRIAL VERSES Ali ASGARI; Alireza KHATAMI
RIEN À PERDRE Delphine DELOGET
LES MEUTES Kamal LAZRAQ

Out of Competition

INDIANA JONES AND THE DIAL OF DESTINY James MANGOLD
COBWEB KIM Jee-woon
THE IDOL Sam LEVINSON
KILLERS OF THE FLOWER MOON Martin SCORSESE

Midnight Screenings

KENNEDY Anurag KASHYAP
OMAR LA FRAISE Elias BELKEDDAR
ACIDE Just PHILIPPOT

Cannes Premiere

KUBI Takeshi KITANO
BONNARD, PIERRE ET MARTHE Martin PROVOST
CERRAR LOS OJOS Victor ERICE
LE TEMPS D’AIMER Katell QUILLÉVÉRÉ

Special Screenings

MAN IN BLACK WANG Bing
OCCUPIED CITY Steve MCQUEEN
ANSELM (DAS RAUSCHEN DER ZEIT) Wim WENDERS
RETRATOS FANTASMAS Kleber MENDONÇA FILHO

The 2023 Cannes International Film Festival will take place 16-27 May, 2023.