In 1953, Alain Resnais, Chris Marker, and Ghislain Cloquet produced Statues Also Die, one of the fiercest and most lucid indictments of white imperialism ever ...
There’s a stretch of land in northwestern France that’s spent the past six decades fighting prospects of total annihilation. Plans to build a new international...
Tucked deep into Don DeLillo’s Underworld is an exchange between the novel’s protagonist, Nick Shay, and one of his teachers, a Jesuit priest. It concerns lang...
Jumper, Justin Anderson’s first short, opened on a naked man bathing in a pool. Conceived in 2014 for the tenth anniversary of British fashion designer Jonatha...
A few weeks ago, as The Sweet East started gracing theatres across the States, Reverse Shot ran a sprawling conversation between critic K. Austin Collins and c...
You don’t need to have lived in the proverbial middle of nowhere to understand the kind of terror Alexandre Bustillo and Julien Maury’s The Soul Eater mines fr...
Early into Pham Thien An’s sprawling, stupefying Inside the Yellow Cocoon Shell, there’s a shot that manifests Caravaggio inside a shack in rural Vietnam. Havi...
A film enamored with stories and with the art of telling them, Éléonore Saintagnan’s Camping du Lac opens with the director addressing the audience the way a r...
In an interview with the Metrograph Journal, Eduardo Williams remembers the first time he ventured into a jungle. Rumor had it the forest teemed with cougars, ...
If the recent mushrooming of A.I. recreations and YouTube / TikTok parodies of Wes Anderson’s cinema serve any purpose, it’s to show that his ongoing allure is...
An Italian-born, UK-raised film critic, Leonardo Goi is an alumnus of the Locarno Critics Academy and Berlinale Talents, where he coordinates the Talent Press. Along with The Film Stage, he writes for MUBI, Senses of Cinema, and Kinoscope. For reviews and reports from the festival circuit, follow him on Twitter at @LeonardoGoi.
