At around the halfway point of Sofia Coppola’s Somewhere a young girl and her distant father jumped into a swimming pool. The characters' relationship was frau...
Two years after First Cow, which we collectively named our favorite film of 2020, Kelly Reichardt returns with a work like a line drawing: neat, lean, evocativ...
Pacifiction is what Albert Serra might describe as an unfuckable movie. “Unfuckable is, you take the whole thing or you don’t take it but you cannot apply...
Mia Hansen-Løve once spoke of her corpus like a home: "I think of my work on two levels: the film itself, and then the film as a part of a larger whole. A hous...
In Crimes of the Future, an underground movement of performance artists try understanding a world in which humans grow new organs on a regular basis and pain, ...
Anyone looking to take the temperature of Cristian Mungiu’s first film in six long years should heed the words of Matthias, his most recent downtrodden protago...
In Three Thousand Years of Longing, an introverted historian (as if there's another kind) meets a genie. The historian is played by a bespectacled Tilda Swinto...
Ruben Östlund might like his fish in a barrel but he's a ruthless shot. Following a Palme d'Or win for The Square, the Swedish filmmaker returns to Cannes in c...
Some actors slip into familiar roles like old sweaters. Emily Watson might prefer a raincoat. The actress first graced our screens in Breaking the Waves for La...
“I don’t want to be a symbol,” Kirill Serebrennikov told the New York Times earlier this year. Good luck with that. When Leto was selected for the Cannes Film ...
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.
