Luca Guadagnino’s Challengers opens in an intentionally disorienting manner: We are in New Rochelle, New York for a tennis challenger. Wearing cheap shorts tha...
Convent-set movies occupy a storied place in cinema history—one too vast to attempt summarization in this review. But it’s no matter: Immaculate stands to be a...
Free Time opens on an office meeting between Drew (Colin Burgess) and his boss. Drew is dissatisfied with his data-analysis position because it’s too much data...
Following The Film Stage's collective top 50 films of 2023, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
From...
For the past decade-and-a-half, cinematographer Sean Price Williams has been a staple of the New York indie-film scene, lensing features for (naming just a han...
The Delinquents is the sort of pleasurable movie that never feels rushed, masterfully carrying a viewer along a variety of detours over its three-plus hour run...
In Sibyl, Sandra Hüller appears at the midway point for a scene-stealing role as a director attempting (and failing) to prevent a love triangle between her two...
Cinematographer Ed Lachman doesn’t often work with new directors, but for someone he considers “the most important filmmaker in South America,” he’ll make an e...
It’s 2023 and the early 2000s are having a moment: blog rock is being celebrated, nü metal is back, and Emerald Fennell––perhaps recognizing this vibe shift––s...
Using photographer Danny Lyon’s iconic The Bikeriders’ imagery as a jumping-off point, Jeff Nichols’ latest feature imagines a fictionalized Chicago motorcycle...
