The few people bobbing up in Ana Vaz’s It Is Night in America are anonymous ciphers, their faces scarcely (if at all) visible, protruding limbs or silhouettes ...
In the heat of late summer, San Michele al Tagliamento is a humid emulsion of corn fields, cypress trees, and silent streets. Sitting along the border between ...
Early into Helena Wittmann’s 2017 feature debut, Drift, a character recounts a Papua New Guinean tale of the world’s creation. Back when the planet was all wat...
All through Fairytale (aka Skazka), characters recite the opening of the Divine Comedy and Dante’s preamble to his plunge into hell. But the black-and-white wo...
Teeming with all kinds of freaks and plots that toggle freely between the real and the absurd, Quentin Dupieux's films are the work of an inveterate, shameless...
It takes a few seconds for Mia’s life to unravel in Alice Winocour’s Revoir Paris, then a whole lifetime to stitch it back together. Up until a fateful Novembe...
Perched on the cliff of a windswept island off the coast of Cornwall is a shock of white flowers. Every day a woman studies their petals in religious silence b...
The deranged lunatics populating Owen Kline’s absurdist, bleakly hilarious Funny Pages are all somewhat anachronistic; loners who gravitate around old things a...
Early into Martine Syms’ The African Desperate, MFA finalist Palace (Diamond Stingily) sits for her last exam in an upstate New York art school tucked deep in ...
Paz Encina’s EAMI opens with a scene that feels yanked from a dream, then hangs in this otherworldly realm for the 83 minutes that follow. The scene is a stati...
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.
