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...
Something has happened in Abel Ferrara’s working life that aligns him with Stanley Kubrick’s later career journey. The latter shot all his features from 2001 o...
Certain literary works feel destined for adaptation; with Don DeLillo’s postmodern classic White Noise, published in 1985, it was surely inevitable. Inevitable...
Tori and Lokita, the latest from the eerily consistent Jean-Pierre and Luc Dardenne, pulls you in opposite directions when assessing it. It is as consummately ...
There is a dearth of films about what it means to lose a friendship. With a close friend at most mature stages of life, there is a sense of vibrant chemistry (...
It’s intriguing for a long-term fan of a director, perhaps even one whose films you’ve grown up alongside the last decade or two, to watch them stumble slightl...
Ali Abbasi’s Border, an adaptation of a short story by Let the Right One In author John Ajvide Lindqvist, put its director on the map as one fluent in a dark g...
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.
