Xan Brooks

This garrulous, charming story of a young man stuck in a daycare centre for disabled adults offers a vital insider’s perspective

‘The Wizard of the Kremlin' didn't quite make the cut during awards season, but it features a little masterpiece of a performance from the British star. And it only serves as further proof that he's long escaped the prettiness that was once his prison, writes

‘The Wizard of the Kremlin’ didn’t quite make the cut during awards season, but it features a little masterpiece of a performance from the British star. And it only serves as further proof that he’s long escaped the prettiness that was once his prison, writes Xan Brooks

From An Almost Perfect Affair to Mr Bean’s Holiday, there’s nothing the festival enjoys more than seeing itself on screen. The next season of The White Lotus is tapping into that rich tradition – can it capture the Côte d’Azur’s peculiar magic?

As it is re-released in cinemas, David Fincher's 1999 thriller is – once again – worth talking about, if only because it's still swaggering and seething and lightly dangerous. Just look at the men's rights activists who seem to live by it, writes

INSIDE FILM: As it is re-released in cinemas, David Fincher’s 1999 thriller is – once again – worth talking about, if only because it’s still swaggering and seething and lightly dangerous. Just look at the men’s rights activists who seem to live by it, writes Xan Brooks

Xan Brooks The first rule ofFight Club(1999) is that its fans talk about it constantly.

He directed ‘Lawrence of Arabia’, ‘Brief Encounter’ and ‘The Bridge of the River Kwai’, and influenced everyone from Steven Spielberg to Wes Anderson. A new documentary at Cannes celebrates his vast legacy, writes Xan Brooks, while also digging into his very, very messy private life

Years before ‘Citizen Kane', the legendary filmmaker directed an all-Black version of ‘Macbeth' to raves from across the sociopolitical spectrum. It puts to shame the current, Musk-led controversy over Christopher Nolan's casting of Lupita Nyong'o as Helen of Troy, writes

From Disclosure Day to Backrooms, a new wave of films promote stories of paranoia, alienation and mistrust. What are they trying to tell us?