Don’t miss all of our daily Cannes podcasts and festival coverage.

On today’s podcast—the first of an epic two-parter—Film Comment editors Devika Girish and Clinton Krute welcomed FC contributing editor Jonathan Romney and critic and programmer Miriam Bale to dig into some of their festival viewing. They talked about Julia Ducournau’s Palme d’Or–winner Titane, Bruno Dumont’s France, Paul Verhoeven’s Benedetta, Compartment No. 6, Red Rocket, La Fracture, Lingui, the Sacred Bonds, and more. Stay tuned for part two of the conversation, covering Annette, Memoria, The Souvenir Part II, and others....

For more on High Life and Denis, listen to our recent podcast on the filmmaker and her work, and check out a photo gallery of the conversation here.

Film Comment’s Clinton Krute spoke with Cortés about the contradictory nature of a man who swung between libertine impulses and religious conviction his entire life, how she reads his work and life as a utopian and cosmic project, and her own remarkable and varied career in the entertainment industry.

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The Film Comment Podcast from Sundance is sponsored by Autograph Collection Hotels.

The Postwar Disney animated features produced during Walt Disney’s lifetime are often dismissed and looked upon less favorably than such films as Snow White and the Seven Dwarfs, Pinocchio, and Bambi. Peter Pan (53) certainly has its faults: underdeveloped characters, a thin story, and muddled themes that stray from those established in J. M. Barrie’s original tales. But Disney’s version is more of an allegory on a girl entering womanhood (including menstruation) than it is about a boy who refuses to grow up....

ALABAMA Crescent Theater (est. 2008) Mobile, 1 screen Capri Theatre* (est. 1983) Montgomery, 1 screen ALASKA Bear Tooth Theatrepub (est. 2000) Anchorage, 1 screen Gold Town Nickelodeon (est. 1990) Juneau, 1 screen ARIZONA FilmBar (est. 2011) Phoenix, 1 screen Mary D. Fisher Theatre* (est. 2012) Sedona Exploded View (est. 2010) Tucson, 1 screen/part-time Fox Tucson Theatre* (est. 2006) Tucson, 2 screens/part-time The Loft Cinema* (est. 1993) Tucson, 3 screens CALIFORNIA Aptos Cinema (est....

James Gray has always, but always, been out of step. His first movie, Little Odessa, debuted at the Venice Film Festival in late summer of 1994, but didn’t have a domestic release, through Fine Line Pictures, until May of the following year. What happened in between was Pulp Fiction, which debuted at Cannes 20 years ago yesterday—a film whose startling success sent distributors scrambling to acquire any indie crime drama that wasn’t nailed down and roll out any movie that had a Tarantino connection, while filmmakers rushed their knock-offs into production....

The notion that cinema rules was never truer than during North Korea’s parallel Reagan Era, when the movie-obsessed heir apparent, Kim Jong Il (aka The Dear Leader), merged his two portfolios, international espionage and studio filmmaking, to abduct South Korea’s most beloved movie star, Choi Eun-hee, and her ex-husband, the noted director Shin Sang-ok, as part of a plan to revitalize the North’s national film industry. Some forcible reeducation was necessary, but as detailed by Paul Fischer in his often mind-boggling historical account A Kim Jong-Il Production: The Extraordinary True Story of a Kidnapped Filmmaker, His Star Actress, and a Young Dictator’s Rise to Power, it did work… for a time....

POV is tricky. Filmmakers have to develop a complete perspective on their subject, understand what their camera can and can’t do, and remain both rigorous about these limitations and true to the possibilities. The Owners and Ate ver a luz offer useful examples in the potential of POV in what are fairly straightforward dramatic narrative situations. The Owners Take the approach of Toscano and Radusky who worked extensively in theater before making their first features (as did Yann Gonzalez, director of another Critics’ Week selection, You and the Night)....

A moral tale in the guise of a suburban romance, Hamaguchi’s adaptation of a book by Tomoka Shibasaki hinges on a series of echoes, doubles, and disappearances. In what amounts to an extended prologue, the film’s first section introduces our protagonist Asako (Erika Karata), a charming yet impressionable young college student, as she crosses paths with Baku (Masahiro Higashide), an attractive stranger, after an art show. Within seconds they’re lip-locked as fireworks signal their seemingly preordained coupling....

In the 1960s, being a foreign-film lover meant seeing whatever you could whenever you could and stoically accepting the fact that the order in which movies from the world’s most esteemed directors arrived in the United States usually bore almost no resemblance to the order in which they had been filmed. Often, one breakthrough hit would precipitate a chaotic tumble of releases, a randomly reshuffled chance for American moviegoers to catch up....

Few of the 57-odd filmic adaptations of Victor Hugo’s opus are likely to be on your Netflix queue right now. Worth a glance, however, is Jean-Paul Le Chanois’ little-remarked 1958 French-language version, at three hours a surprisingly efficient take on the novel as well as a perfect artifact of a transitional moment in French cinema. The story still suffers from its overabundance of saintly types, but Jean Gabin’s refreshingly matter-of-fact Jean Valjean is less a selfless and guilt-ridden victim of circumstance than a savvy ex-con who understands that morality is a privilege only the wealthy can afford....

Hospital As every essay about medicine must open with a pearl from William Osler, I will start with my favorite: “Remember how much you do not know. Do not pour strange medicines into your patients.” Frederick Wiseman is, in this sense—in the best sense—an Oslerian. His films careen, cartwheel, and leap up against the very face of reality, but are always aware, on a cellular level, of quite how much they do not know....