“When you get a different vantage point, you get a new perspective,” says Ryan Gosling to a group of NASA officials recruiting astronauts early into Damien Chaz...
Tucked deep into Mariano Llinás’ monumental 14-hour, 3-part, 6-episode epic La Flor is a montage that only spans a few minutes. Introducing the film’s third and...
“He’s hardly a real auteur,” says a woman of an arthouse director in Hong Sangsoo’s achingly melancholic Hotel by the River, “and he does ambivalent stuff.” Hon...
Reception can be pretty unreliable atop the mountains of Turkey’s Black Sea Region, so the women picking tea leaves in Çağla Zencirci and Guillaume Giovanetti’s...
“I was a singer,” 35-year-old Menahem Lang introduces himself at the outset of Yolande Zauberman’s piercing documentary M, “and then I became a porno kid." A se...
After her Locarno premiere, we talk to the Chilean director about growing up fast in a commune, cinema as a means to rescue one’s memories, and Chile’s own adolescence....
Halfway through Dominga Sotomayor’s movingly tender coming-of-age tale Too Late to Die Young (Tarde Para Morir Joven), my mind jolted back to a movie I saw and ...
Dumont spoke with us about his fascination for Joan of Arc, the crucial changes between Jeannette and Jeanne, and some unconventional methods to direct his actors....
“I’m like everyone else,” writes about himself Cristiano (Aristides de Sousa), the working class hero at the center of Affonso Uchoa and João Dumans’ Araby, “It...
I wish there was a way I could start this review of Carla Simón’s extraordinary Summer 1993 with its final scene. Not because there are eye-opening or plot-unra...
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.
