Bodies twirl to maddening EDM tunes and wobble home at the break of dawn; nostrils are pierced, snort coke and puff smoke; mouths chew, bite, and meet in voraci...
In the year of the Swedish master’s 100th birthday, Margarethe Von Trotta wraps a belated, posthumous gift with her Searching for Ingmar Bergman, a portrait of ...
Never had the Netflix logo been welcomed by Venetian audiences with an applause as rapturous as the one it received when the iconic N popped up to introduce wha...
With its gorgeously choreographed sword duels, sabers slicing through paddles of blood and rain, watercolor bi-chromatic palettes and sumptuous costumes, Zhang ...
Who needs a middle man’s subjectivity when you have algorithms predicting what people will like? Critics don’t matter much in Olivier Assayas’ talkative Non-Fic...
Jennifer Kent’s The Nightingale features some of the most atrocious on-screen violence in recent memory. It is a cauldron of blood, murders, and rapes so unflin...
Anyone transfixed by the hyper-stylized meathead triumph of blood and violence of Brawl in Cell 99 should be warned. Dragged Across Concrete, S. Craig Zahler’s ...
When Vincent Van Gogh stares at the flat southern France landscape in Julian Schnabel’s contemplative At Eternity’s Gate, what does he see? Cemeteries of dead s...
Surprise may not be the first reaction you’d expect to have when watching the umpteenth remake of a romance as old as Hollywood itself, but the adjective proves...
The English royals populating Yorgos Lanthimos’ rollicking period drama The Favourite may not know much about the country’s ongoing war with France, but they’re...
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.
