Parenthood, relationships, and the creative process: three key elements of the cinema of Mia Hansen-Løve casually combine in Bergman Island, a playfully self-a...
Petrov’s Flu opens on a stuffy commute—a Moscow bus in the early years of post-Soviet Russia. The eponymous protagonist is already bent over a handrail, strick...
It seemed inevitable that Haruki Murakami’s prose would find a way into the films of Ryusuke Hamaguchi. The director returns with Drive My Car, based on Muraka...
A triptych of interconnected stories form Evolution, which begins at the end of the liberation of Auschwitz, in 1945, skips forward to an apartment in Budapest...
The premise of After Yang might require a mild digestif. A work of speculative science fiction from the video-essayist-turned-director kogonada, it concerns th...
Many of the best qualities of early and late Verhoeven combine in Benedetta, a tale of sex, blood, and sacrilege in 17th-century Italy. Based on the American h...
As Sheffield Doc Fest wrapped its first online edition, we spoke with one of the most promising filmmakers to emerge from that discipline in recent years. With...
At the end of The Souvenir, Joanna Hogg filmed a film in the process of being made. She returns with The Souvenir Part II, a film all about filmmaking and its ...
It’s always interesting, at the beginning of any Nadav Lapid film, to note the myriad Israeli institutions that have backed the project. Since Emile’s Girlfrie...
In Annette, a provocative comedian (Adam Driver) and renowned opera singer (Marion Cotillard) fall in love and have a gifted child. Written and composed by Ron...
Irish-born, Berlin-based, Rory O'Connor has been covering the European film festival circuit since 2012. A regular contributor to The Film Stage, his work has also appeared in Frieze, The Playlist, and CineVue.
