The dedication at the end of The Plastic House is short and sweet: “For Mum & Dad.” Like the rest of writer-director Allison Chhorn’s documentary, that ded...
“Scenes filmed in 13 French cities between November 2018 and February 2020. During that period we counted 2 deaths, 5 hands amputated, and 27 eyes lost during ...
There is a moment of surreal wonder near the start of Concrete Cowboy, the TIFF premiere co-starring Idris Elba, that is never equaled again, a sequence of une...
It takes great maturity and confidence to make a film about the emergence of a young woman’s sexuality that also dares to ask complex, provocative questions wh...
The career of François Ozon is delightfully absurd. For every gem––8 Women, Swimming Pool, Frantz––there is an (often entertaining) stumble. (Meet Ricky.) Yet ...
“How do you feel about the crime you committed? Remorse for the victim?” This question is posed early in Under the Open Sky to an aging figure named Mikami. He...
It is apropos that Emma Seligman’s Shiva Baby is screening in the Toronto International Film Festival’s Discovery platform. It is a discovery, in every sense: ...
There is a palpable sense of exhaustion and an air of dread over nearly every scene in Akilla’s Escape. It’s no wonder that despite the legalization of marijua...
A film about an infection and the upset, paranoia, and unease that follows is, well, tailor-made for right now. There is no better time, then, to see director ...
“Mulan! Take control of yourself!” These shouts greet young Mulan as she runs and leaps across her village, attempting to catch a wayward chicken. Set during t...
Christopher Schobert is a Rotten Tomatoes-approved film critic who has written for numerous outlets worldwide and covered film festivals in Toronto, New York, and London. Currently, he writes reviews and features for The Film Stage, writes a monthly cinema column for Buffalo Spree magazine, and discusses film as a regular guest on the Shredd and Ragan radio show on Buffalo’s 97 Rock.
