To cinéastes fixated on tabulating statistics like sports fanatics, the Dardennes often come up as examples of unerring consistency, like a player with an impe...
Purchasing and shooting on celluloid film, especially in this age of closing processing labs, is expensive for large and smaller productions alike: the documen...
To be blunt about it, we’re reaching the sad, maybe inevitable stage where Beau Travail and its famous closing sequence are becoming subject to the dreaded “Se...
Just when you thought filmmakers and creators had exhausted everything worth saying in American high school-set comedies and thrillers, along comes Chicago-bas...
She Came to Me has designs on being a grand opera, but it’s definitely more of what the British call a panto. Opening at a swanky cocktail reception as a male ...
Nina Menkes’ bracing 1991 feature Queen of Diamonds is one of a group of notable films by female auteurs that have recently been restored and brought back into...
Following The Young Pope, The New Pope, and The Two Popes, the time has officially come for the Woke Pope. In Viaggio, Gianfranco Rosi’s fascinating Rorschach ...
Jafar Panahi’s career can now be split into two distinct sections: his work prior to an initial 2010 arrest amidst Iran’s Green Movement, and his creative resp...
How much dramatic license is excessive? Do artists have a responsibility to create positive representations around public figures, especially if they’re belove...
More than her urgently and perceptively topical subject matter, American documentarian Laura Poitras has a habit, and penchant, not solely for making work abou...
David Katz has been a freelance film journalist for over a decade. Born in Columbus, Ohio and raised in London, he primarily writes for the trade publication Cineuropa, but also loves popping up at The Film Stage from time to time.
