The Palme d’Or winner takes aim at the fashion world as models have a disastrous time on a luxury yacht, while Anne Hathaway falls for a boyband star in a swoony, steamy romance

Swedish film-maker Ruben Östlund has seemingly made it his life’s work to satirise the bourgeoisie – from the nuclear family in meltdown in Force Majeure to the pretentious art-world crowd of The Square . In this out-there comedy , he takes aim at the fashion industry via two models, Carl (Harris Dickinson) and Yaya (Charlbi Dean). Vain, petty and insecure, the couple go on an Insta-worthy trip on a luxury yacht alongside a group of super-rich types. But they find themselves all at sea – in more ways than one – after a disastrous storm flips the power dynamic between the guests and the put-upon staff. Come for the extended vomiting scene, stay for the class war.
Saturday 27 April, Netflix

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DeBose’s brilliant rookie astronaut navigates this moderately tense thriller about US and Russian crew fighting as Earth blazes below

At first, the crew on board the International Space Station (ISS) mistake the tiny dot of fire on Earth for a volcano. But look: there’s another, and another. In fact, these astronauts have got a bird’s eye view of a nuclear tit-for-tat between the Russian and American governments that by the end of the movie turns the planet into a great glowing ball of fire. But for the six-person crew – three Americans and three Russians – nuclear Armageddon is only the start of their problems.

A lowish-budget, slightly muted survival thriller – moderately tense, with too few ideas to qualify as actively cerebral – what the movie does have is a brilliant performance by West Side Story ’s Ariana DeBose as biologist and rookie astronaut Kira. Like all the characters here, she’s a bit too thinly sketched, but DeBose brings real warmth and likability to the part, making Kira easy to root for. And there are some interesting moments as she adjusts to zero gravity.

The actor’s feminist credentials, a wholehearted embrace of comedy and being one of the most memed actors on social media has seen Gosling’s auto-satirising alpha male become white-hot box office in 2024

In Hollywood, there are no accidents. Ryan Gosling’s role in stuntman pic The Fall Guy , hard on the heels of his show-stopping Oscars rendition of I’m Just Ken, is perfectly timed to confirm his ascension to the very top tier of stardom. Not only is it a four-quadrant entertainment turbo boost – covering all audience bases with action, romance, a legacy franchise for the oldies, John Wick-slick for the kids – it is shrink-wrapped to his public persona. His role as stunt veteran Colt Seavers, saving the skin of the idiot megastar he doubles for, caps off the stance Gosling has upheld on talkshows and memes over the last decade: stardom and celebrity as a delectable facade, an in-joke between star and audience to be played with the lightest of ironic touches.

But of course Gosling is a bona fide star, one of Hollywood’s most important. His confused, toxic himbo Ken stole the Barbie limelight from Margot Robbie. Tunnelling into classic archetypes of masculinity with modern self-awareness is the on-screen niche he has made his own – giving us a new, uniquely supple male star for the post-#MeToo era. His mainstream roles – getaway drivers, daredevil motorcyclists, venal bankers – have often been ultra-macho, but the actor himself comes with rounded metrosexual edges. Men want to be him, with his debonair cool and inexhaustible supply of swanky jackets (the leather Miami Vice stunt-team number in The Fall Guy being the latest). As far back as 2017, Morwenna Ferrier noted that Gosling clones, sporting a certain “turbo cleanliness”, were now on the loose in cities everywhere.

Surprise reversal of producer’s New York conviction led to anger from stars and accusers, including Ashley Judd and Mira Sorvino

Hollywood has reacted with shock to the news that the disgraced producer Harvey Weinstein ’s rape conviction has been overturned by a New York court .

The fallen movie mogul was sentenced to 23 years in 2020 for two sex crimes, a decision that a court of appeals has now called the result of an unfair trial.

The director’s 18-minute film Scénarios will premiere at this year’s Cannes film festival accompanied by his 34-minute introduction

The final film from the French-Swiss director Jean-Luc Godard is set to premiere at this year’s Cannes film festival.

Scénarios is an 18-minute short that the film-maker finished in 2022 the day before he died via an assisted suicide procedure in Switzerland. Godard also made an accompanying 34-minute introduction which is a combination of “still and moving images, halfway between reading and seeing” that will be screened alongside it.

In Human Resources, Time Out and The Class, the Palme d’Or-winning film-maker – who has died aged 63 – addressed French and European society at all levels

Laurent Cantet was a classic product of the French cinema industry: a deeply intelligent, high-minded progressive film-maker of the same generation as Robin Campillo and Dominik Moll whose supremely literate, emotionally committed, stylish and well-acted movies aspired to address French and European society at all levels.

Cantet made films that you could imagine being discussed around a gregarious dinner table of fashionable Parisians, with glasses being avidly drained and refilled all round – in fact, you could imagine Cantet himself talking about his work at just this kind of gathering.

Director of Palme d’Or-winning film Entre les Murs (The Class) was much praised for humanism in projects

Laurent Cantet , the award-winning film-maker whose creations tackled some of the most complex issues of modern French society, including meritocracy, the education system, diversity and class struggle, has died aged 63 after an illness.

Cantet was best known outside France for his film Entre les Murs (The Class), which won the Palme d’Or at the Cannes film festival in 2008. It depicted life inside the classroom of a secondary school in Paris’s diverse 20 ^th arrondissement and the relationship between students – compellingly improvised by non-professional teenagers – and their at times exasperated teacher.

Muscular bodies dripping with sweat are all over cinema screens – and each other. But these films are very different from the sports romances of old

This spring is shaping up to be the season of the artful athletic romance in cinema. Rose Glass’s Love Lies Bleeding and Luca Guadagnino’s Challengers both offer up their own twisted queer romances set within the world of sport. Both film-makers share a preoccupation with their athletes, lingering over their bodies in ultra-closeup. Muscles ripple and swell like the powerful pulse of the tide. Perfect, glistening orbs of sweat form then drift off the body in slow motion. In these films, ripped, toned bodies become tantalising, treacherous landscapes, and it’s on this physical terrain that we can see exactly how and why the characters’ internal desires play out.

Love Lies Bleeding opens with a pulsating montage in a grimy gym as Glass confronts us with running, cycling, lifting, pressing bodies in all of their sweating, straining vulgarity. Meanwhile, Lou (Kristen Stewart), the uninspired gym manager, is sticking her hand down the venue’s perpetually clogged toilet. However, when Jackie (Katy O’Brian), a wannabe bodybuilder, rolls through town, all this grotesquery becomes a thing of beauty. They begin a romance. Lou pumps her lover full of steroids and constantly ogles her dense muscles.