“I lose my keys every other week. I’m a fraud of a person. Do you see me raising a kid?” When Vir finds out she’s pregnant, early into Carlos Marqués-Marcet eng...
The kids roaming around the streets of Naples in Claudio Giovannesi’s Piranhas snort cocaine, hang out with hookers, and fire assault weapons. They are the bare...
Simon died, or perhaps he killed himself. His car raced through a wintry country road, span, crashed. None of the 215 inhabitants of his native Quebecois hamlet...
What exactly are Johnno and Spanner? There are moments when the two Scottish teens hate each other’s guts with bilious fervor, others when they’re the...
Standing tiny before a vaguely impressed crowd, fake snowflakes pouring down a semi-deserted hotel hall a few meters away from a stretch of the Bosnian coastlin...
Halfway through Phuttiphong Aroonpheng’s hypnotic feature debut, Manta Ray, two men put up Christmas lights around an unadorned riverside shack. They’ve known e...
“Do you feel like the story is exploitative?” a journalist asks actress Mabel (Jess Weixler) about the new film she’s starring in, early into Aaron Schimberg’s ...
A halo of unnatural, blue, and red neon-light envelops the snowy landscape around the Buddhist temple of Cheongpyeongsa. Wide awake in the dead of night–silent ...
A flock of dark, wavy hair covers Ángela’s luminous face as she stares at her father’s casket a few minutes into Rubén Mendoza’s heart-wrenchingly humane Niña E...
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.
