In You Burn Me, the Argentinian littérateur-filmmaker Matías Piñeiro uses his vintage Bolex camera like the iOS Notes app. Shooting over the course of a few ye...
“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...
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 ...
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 ...
You’d expect the pivotal music cue in Philippe Lesage’s Who by Fire to be its namesake by Leonard Cohen, a beautiful and plaintive prayer of a song. But instea...
As inevitable as a new day comes another François Ozon film––accomplishing the deft task of feeling equally breezy and clever, but never clearing an overall lo...
I’ve always defended Michel Franco, not that he requires further support from numerous areas of the industry. But he’s been something of a critical punching ba...
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.
