The Beautiful Days of Aranjuez, the latest wistful, contemplative narrative effort from German director Wim Wenders, is the type of “European Film” you might ha...
There’s a great recurring gag in Whiplash director Damien Chazelle’s La La Land -- a beautiful, audacious, aesthetically vibrant, and enchanting contemporary mu...
Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being medi...
There is a moment in Sean Penn’s new film -- for some reason screening this week in competition in Cannes -- when, having navigated the safe passage of a group ...
Motion, love for the Gaia, and lush orchestral music provide the backbone of Michaël Dudok de Wit’s The Red Turtle, a dialogue-free, feature-length animation ab...
Kim Nguyen’s Two Lovers and a Bear is a film that suffers from a bit of an identity crisis. Like an indie playlist stuck on constant shuffle, unapologetically r...
Not a huge amount happens in Ma’ Rosa, the relentless new film from Filipino director Brillante Mendoza, which premieres this week in competition at Cannes. In ...
A woman recalls the pivotal moments of her adult life in Julieta, the latest film from Pedro Almodóvar and his fifth to screen in competition here in Cannes. It...
David McKenzie’s Hell or High Water is a gritty, darkly humorous, and fiendishly violent neo-western. Or, in other words, the type of film you might expect from...
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.
