Her Name Was Moviola review – ode to editing machine a geekgasm for analogue fans

One for the historians and tech specialists maybe, but this documentary about the Moviola, used from the 1920s until the 21st century, is a fascinating watch

Sixteen years for stealing a flower pot: the film about the IPP jail sentence ‘designed to bury you alive’

Britain’s Forgotten Prisoners is a devastating documentary about the ‘public protection’ sentences that can amount to whole-of-life terms for relatively minor offences. Film-maker Martin Read explains his seven-year quest for justice

Memoir of a Snail review – charming, poignant tale of troubled twins

Sarah Snook and Kodi Smit-McPhee lend their voice talents to Adam Elliott’s ambitious animation that has a strong personal touch

The Dead Don’t Hurt review – love blossoms amid violence in Viggo Mortensen’s western

The star directs, writes, composes and acts in this beautifully shot and sombre film about an old-school hero in a 19th-century frontier community fraught with tragedy

Anora is a vivacious Cannes victor and a fitting end to a radically romantic festival

Sean Baker’s story of an erotic dancer who marries a Russian oligarch makes a terrific surprise Palme d’Or winner – though more reward for Mohammad Rasoulof might have felt better

Cannes 2024 week two roundup – scuffles, screwballs and spellbinders

While there’s no out-and-out masterpiece this year, and at times more fun to be had watching the audience fighting, Sean Baker’s acid class comedy, Jacques Audiard’s drug-lord musical and India’s first Palme d’Or contender in decades are knockouts

‘I paid for it’: tennis bad boy Ilie Năstase revisits confrontational career

Fifty years on, a documentary premiering on Friday revisits the Romanian player’s stroppy ascent to international stardom

The most political apolitical festival ever? Here’s how Cannes 2024 went – and who will win

There were no overt boycotts this year, but there were entries about theocracy, Trump and the far right. There was still room for love, though – and sex. Here’s who I think will win, and my alternative ‘Braddies’ awards

On the Cannes red carpet, it’s film-makers’ turn to shine

In this week’s newsletter: With few expectations or endorsement deals to suppress their style, the top directors at the film festival are breaking rules with chic, expressive outfits

All We Imagine As Light review – dreamlike and gentle modern Mumbai tale is a triumph

Payal Kapadia’s glorious film is an absorbing story of three nurses that is full of humanity

Beating Hearts review – operatic French gangster film suffers from bloat

Gilles Lelouche’s new movie aims for a Springsteenesque blue-collar energy but buckles under the weight of its own naivety

French cinema tried to hide its violence against women. At Cannes, we’re calling it out

I took to the red carpet alongside other activists to highlight sexual violence. Now women of colour need a bigger place in the movement, says Guardian Europe columnist Rokhaya Diallo

Motel Destino review – terrifically acted Brazilian erotic noir thriller

A young man on the run from a mob boss lands an unlikely job in a brutally functional love motel and starts a passionate affair with the manager’s wife

Grand Tour review – engaged couple’s sweet, strange colonial era hide-and-seek

Miguel Gomes’s beguiling and bewildering story follows a jittery fiance fleeing his intended across the British empire, and her hot pursuit

Parthenope review – Paolo Sorrentino contrives a facile, bikini-clad self-parody

The heroine is a victim of her own beauty in this exercise in languorous image-making that is too conceited to allow any emotional investment