The infamous cover of New York Magazine’s December 2022 issue declared that Hollywood is in the middle of a “Nepo Baby Boom,” but this is hardly restricted to ...
Not to judge a film from the synopsis established by its marketing team, but those expecting director Aurélie Saada’s debut Rose––a 2021 Locarno premiere only ...
The most striking thing about Audrey Diwan’s reinterpretation of Emmanuelle––the infamous novel-turned-softcore franchise from fabulously named director Just J...
From Ground Zero is a film that, in an ideal world, would not exist, and cannot be written about as if it were a normal production. This anthology of 22 shorts...
Following The Film Stage's collective top 50 films of 2024, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
Is t...
Most men think about the Roman Empire several times a week, if a recent meme is to be believed. With Gladiator II, Ridley Scott brings the era back to life in ...
It’s hard to overstate just how ubiquitous the Paddington films––particularly the 2017 sequel––have been in the British cultural consciousness over the last de...
Jane Schoenbrun didn’t invent movies exploring teenage malaise and identity through the lens of pop culture, but in the opening moments of Caroline Poggi and J...
Many films have dared to ask if a man and a woman can ever just be friends, but very few have managed to answer in the affirmative. For most of its first half,...
Steve McQueen has long been upfront about his desire to make a musical; before Widows underwhelmed at the box office, it appeared likely that a passion project...
Alistair is a freelance film and culture writer from Northern England, who has written for the BFI, Vice, GQ, and more. You can find him on Twitter @YesItsAlistair, although if you are allergic to bad puns, maybe think twice before smashing that follow button.
