The Load is about a man and a van. We’re in Yugoslavia in 1999, where the rumble of NATO bombers can be heard in the distance. The man’s name is Vlada (Leon Luv...
One need not take a class on the cinema of Todd Solondz to suspect that there may not be a great deal of joyfulness in a film called Joy (unless, of course, som...
In 2015, Brady Corbet released The Childhood of a Leader, a flawed and somewhat immature movie but arguably one of the most bombastic directorial debuts of rece...
Paul Greengrass, director of United 93 and Bloody Sunday, returns to the realm of the “too soon?” with 22 July, a clichéd and rather problematic film–with a fra...
Veteran filmmaker Frederick Wiseman adds a quaint but important little chapter to his great oeuvre with Monrovia, Indiana. It's 143 minutes long, which is about...
"Let's see what's behind this." That's the very first line we hear in Sunset, László Nemes' masterful follow-up to his 2015 breakout Son of Saul, a daring debut...
With all the toing and froing over Netflix and Lars von Trier in the lead up to this year’s Cannes Film Festival, Thierry Fremaux's remarkable decision to rejec...
There comes a telling moment near the beginning of The Mountain when Jeff Goldblum's doctor turns to his newfound apprentice to explain the workings of a camera...
Luca Guadagnino does a lot of things very, very well. Indeed, it is hard to think of a working director more adept at capturing the tactile delights of stuff li...
Eyebrows were raised when the venerable contributors of Sight & Sound named Twin Peaks: The Return the second-best "film" of 2017 despite the fact that only...
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.
