In Plan 75, Japan suffers two existential crises: the very real economic and societal strains of its aging population and, worse yet, a severe loss of empathy....
It's been a rocky year for Ulrich Seidl. As far back as last February, Rimini was winning over critics at the Berlinale (us included) with its bleak beauty and...
Editor's note: Last year at Berlinale, Rory O'Connor caught up with Quentin Dupieux who was there to premiere Incredible But True, which would go on to be the ...
A century from publication, Virginia Woolf’s Orlando: A Biography is still in vogue. Just before the pandemic, Tilda Swinton––who played Orlando in Sally Potte...
As years pass by and films rack up, it's only natural to associate directors with certain things. And none more so than Hong Sangsoo, for whom a new release us...
In 1947, ten years before becoming an actor, Philippe Garrel’s father, Maurice, joined a company of puppeteers. That piece of history is like a well of inspira...
For anyone keeping tabs on Bas Devos' career, it's notable that the drama of his latest film Here is set in motion by something as benign as a pot of soup. A c...
In Manodrome, cinema's enduring love for frustrated male loners is brought, kicking and screaming, into the cold light of the present day. Set in an unnamed, c...
Writing recently about the introduction of video umpires in baseball, of all things, Zach Helfand was skeptical: “accuracy is not the same as enjoyment,” he wr...
The characters of Tótem don’t just appear onscreen; they take it over. From the top there's the patriarch Roberto (Alberto Amador), who speaks using an electro...
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.
