First paragraphs of Hong Sang-soo reviews often dwell on the Korean master’s penchant for self-repetition, soothing readers that narrow expectations will be fu...
An aura of pure eccentricity billows off the new film by Québécois provocateur Denis Côté, like a fug of stale-smelling nitrous oxide. Akin to his prior work o...
Wild Indian is a bold, anger-wreaked character study, creating a deeply unsympathetic antihero who nevertheless inspires some pity and understanding. Although ...
One of the most succinct, yet heavily weighted lines of dialogue in cinema history is a three-syllable call to death: “Time to die," as Rutger Hauer’s Roy Batt...
Any newly-released film, book, or piece of media that begins its story in the latter months of 2019 is signifying something very clear: trouble like we’ve neve...
When observing global cultural differences, some of the most telling points of distinction are seen in how different societies treat death. Beyond this, the on...
There’s a certain aura that some people who’ve lived a lively, eventful life possess––a rare shimmer of self-belief and authority. Errol Morris’ new documentar...
Pixar’s Soul will be celebrated for many things, but chief among them should be the platform it gives, in American animation, to the great art form of jazz. We...
For all its contemporary elements, the story of Nomadland is as old as America itself. It’s the same hymn about the myth of the open road, stretching onwards i...
The reaction to Notturno is going to be as interesting to observe as the work itself, and it begs to be further contextualized by experts on the Syrian Civil W...
David Katz has been a freelance film journalist for over a decade. Born in Columbus, Ohio and raised in London, he primarily writes for the trade publication Cineuropa, but also loves popping up at The Film Stage from time to time.
