Anyone who saw Félix Maritaud playing the angry activist Max in Robin Campillo’s Paris ACT UP drama 120 BPM will certainly remember him (main picture).

"I am amazed to be still alive. Two hours of medieval torment.” Franco Zeffirelli - who has died at the age of 96 - had spent the day having a lumbar injection to treat a sciatic nerve. You could hear the bafflement in his heavily accented English.

Revisiting Gillian Armstrong's My Brilliant Career for the first time since I saw it in its year of release, 1979, is a mixed experience. I was close in age to its heroine and it was one of the first mainstream feature films I’d ever seen directed by a woman.

A chronic recycler, Dennis Potter fashioned five feature films from his earlier TV dramas and another from one of his novels. The best of them are 1985’s Dreamchild (from the BBC's Alice, 1965) and Track 29 (1987), which he adapted from the BBC's Schmoedipus (1974).

It has been ten years since Canadian auteur Xavier Dolan first debuted I Killed My Mother at the Cannes Film Festival. A decade on he returns in competition with a title that shows an evolution of his filmmaking that leaves behind many of the problems of his previous work.

Chilean Dominga Sotomayor’s third feature is a beautifully crafted example of the kind of Latin drama that is slow-burn and sensorial, conveying emotion through gestures and looks rather than dialogue or action. Nothing much seems to be happening, but before you know it you’ve been completed sucked in.  

Moments before Quentin Tarantino’s blistering, outrageous work screened at Cannes, a message was delivered on behalf of the director, asking reviewers to avoid spoilers. It’s easy to see why. There’s a lot of pleasure in the film’s initial shock value, So yes, let’s avoid spoilers. But the surprises aren’t what make this film so good. Tarantino has form when it comes to handling ensemble pieces, but not since Pulp Fiction has it been so richly rendered.

Every year the Cannes Film Festival is a swirl of chaos, excitement, and controversy. Last year, the festival had a markedly different feel. Gone were the big starry names. Replacing them were less glitzy films that were given a chance to shine.

There’s a touch of Fellini’s 8 ½ in Pedro Almodóvar’s latest film. It’s a forlorn, confessional tale, with Antonio Banderas starring as Salvador Mallo, a director in the latter stages of his career. His character acts as a cypher for Almodóvar, allowing him to wrestle with themes of love, loss, and addiction.

“Publishable, but worth it?” EM Forster’s hesitations about the value of Maurice, his novel of Edwardian homosexuality – written in 1913-14, it was published only posthumously, in 1971 – were certainly redeemed by James Ivory’s 1987 film of the book.