Cannes Review: Close Your Eyes is a Rewarding Late Work From Víctor Erice
One of the most prized moments of Howard Hawks’ macho manifesto Rio Bravo is when Dean Martin’s Dude kicks back, gazes lightheadedly at the ceiling, and moseys...
David Katz
Cannes Review: Justine Triet’s Anatomy of a Fall is a Black Comic Legal Procedural
The ensuing days after a romantic breakup, even if it isn’t a cataclysmic one, are an uncanny time. Perhaps once the spell of verbal conflict and sparring's ce...
Cannes Review: Pictures of Ghosts is a Memento Mori of Cinema for Kleber Mendonça Filho
If the death of cinema is imminent, at least Kleber Mendonça Filho can play it out with some vintage Tropicália. It’s becoming a nice leitmotif of the Brazilia...
Jean-Pierre and Luc Dardenne on Tori and Lokita, Moral Indignation, and Cannabis Farms
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...
Berlinale Review: Under the Sky of Damascus Examines Female Solidarity in the Aftermath of War
Purchasing and shooting on celluloid film, especially in this age of closing processing labs, is expensive for large and smaller productions alike: the documen...
Berlinale Review: Disco Boy Takes Franz Rogowski on a Hallucinatory Military Journey
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...
Berlinale Review: Perpetrator is Another Phantasmagoric, Feminist High-School Horror from Jennifer Reeder
Just when you thought filmmakers and creators had exhausted everything worth saying in American high school-set comedies and thrillers, along comes Chicago-bas...
Berlinale Review: Rebecca Miller’s She Came to Me is a Loopy, Painfully Laugh-Free Screwball Black Comedy
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 on Brainwashed, Audiences vs. Critics, and Countering the Male Gaze
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...
Venice Review: In Viaggio is a Fascinating Rorschach Test of the Pope
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 ...
David Katz
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.