The Ballad of Suzanne Césaire, the feature debut from artist and filmmaker Madeleine Hunt-Ehrlich, aims to foreground its primary literary material and histori...
When J. Hoberman placed game 6 of the 1986 World Series on his Village Voice year-end list, we had one of the first, most convincing attempts to enshrine live ...
“What if woody Allen had brain injury,” remarks the comic Adam Friedland in his rather direct Letterboxd review of Jerry Lewis’ The Ladies Man. Continuing a t...
If the Hollywood superhero-industrial complex is perishing, the Rolling Stone and Spin magazine extended universe is hastily being built. What better defines “...
Here’s a film that asks, in the vein of another's title: did you wonder who fired the gun? Yet in Mohammad Rasoulof’s The Seed of the Sacred Fig, which is set ...
The death of the author is the birth of the reader, as we know from post-structuralist thought; then again, there are Hong Sangsoo’s public remarks. A charming...
Indiewire having encouraged us to reminisce about the 2000s through its recent Best of the Decade list, there's the reminder of one key thread defining that er...
Pia Marais’ Transamazonia seeks to connect us to its characters and the environment containing them, but we leave the film far more imprinted by the latter. Th...
A year since Do Not Expect Too Much from the End of the World amused us so, Radu Jude has now unveiled two new experimental found-footage films in Locarno. And...
Grace Pudel (the voice of Succession’s Sarah Snook) is wishing goodbye to her elderly friend Pinky (Jacki Weaver), who’s currently prone on her deathbed. Once ...
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.
