Whatever one may think of Luc Besson’s oeuvre, his films work best when they live up to their trashy potential. The director’s cinema is littered with all-out ...
Over the past six years Quentin Dupieux has been working at Hong Sangsoo’s speed, churning out a film every few months. The streak kicked off in 2018 with the ...
The people dotting Leonor Teles’ shorts are all caught in the midst of seismic transformations, drifters who watch their home turfs push them away and change a...
“Rossellini’s films,” Jacques Rivette wrote in a letter to Cahiers du Cinéma dated 1955, “have more and more obviously become amateur films––home movies.” The ...
Late into Lisandro Alonso’s Jauja, Viggo Mortensen’s Captain Gunnar Dinesen disappeared into a cave. What happened next, in that unnamed stretch of 19th-centur...
The pastures in Nuri Bilge Ceylan’s luminous new film are only dry at the very end. Save for that brief summery coda, the landscape in About Dry Grasses remain...
Remember Titane? The day after Julia Ducournau’s Palme d’Or, a couple of summers ago in Cannes, Nanni Moretti took to Instagram and shared a selfie. The pictur...
For all their grisly mayhem, the earliest films by Takeshi Kitano all demonstrated a keen grasp of negation. Violence was an omnipresent fixture of his first c...
Back in 2017, Warwick Thornton landed in Venice with a western that offered some corrective to the white-savior narratives of countless others in the genre. Sw...
A body and an island become sites of resistance in Glorimar Marrero Sánchez’s The Fishbowl, a fitfully incendiary, entrancing portrait of a woman engaged in a ...
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.
