Kane Parsons has one hell of an origin story: a YouTuber from an extremely early age who taught himself how to create visual effects with Blender software duri...
Seen through a child’s eyes, the French Riviera suggests heaven on Earth. For the three at the heart of Bruno Dumont’s Red Rocks—Geo (Kaylon Lancel), Manon (Lo...
In Ben’Imana, the perpetrators of a genocide are being put on public trial, but it just as often feels like the families of their victims are being forced ...
When Phil Lord and Chris Miller were fired from Solo: A Star Wars Story nearly a decade ago––the last time either of them were in the director’s chair––the rep...
Shortly before the 2025 edition of the Berlinale, incoming festival head Tricia Tuttle was outspoken about filmmakers shunning the event over fears they would ...
Note: This review was originally published as part of our 2025 BFI London coverage. The film opens in theaters on February 13.
Telling an authentic, politic...
New Sam Raimi films are few and far between these days, but when one appears, the debate as to whether he’s an inherently mean-spirited director invariably rea...
Note: This review was originally published as part of our 2025 Cannes coverage. Magellan opens in theaters on January 9.
Ferdinand Magellan was never regard...
If you’ve ever encountered tween bullying, you’ll know that, long before it gets personal, the process of picking out a target begins by being as annoying as p...
Following The Film Stage’s collective top 50 films of 2025, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
It c...
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.
