Amid the litany of horrors the biting little film Bad Tales presents, there might be a pinnacle: reading out your middle-school report card to a dining table o...
Home is profoundly where the heartache is in Eyimofe (This Is My Desire), a finely wrought, wistful but mildly unsatisfying debut feature by Nigerian-raised, N...
An apt alternate title for Bebia, à mon seul désir could well be Grandma, which of course was also the name of a Lily Tomlin-starring comedy from 2015. Indeed,...
Consider an odd occurrence: my generation––the millennials––are really feeling tarot and astrology at the moment. There are many pop-psychological interpretati...
There has never been a less auspicious time to make a “cop movie.” As scrutiny abounds from both within (content warnings on streaming services) and externally...
German author Erich Kästner is most celebrated for the children’s novel Emil and the Detectives, but he was one of the more renowned men of letters of his day,...
In 1953, Chris Marker and Alain Resnais released Statues Also Die, a key work in their fledgling early careers that focused on traditional African art and its ...
First paragraphs of Hong Sang-soo reviews often dwell on the Korean master’s penchant for self-repetition, soothing readers that narrow expectations will be fu...
An aura of pure eccentricity billows off the new film by Québécois provocateur Denis Côté, like a fug of stale-smelling nitrous oxide. Akin to his prior work o...
Wild Indian is a bold, anger-wreaked character study, creating a deeply unsympathetic antihero who nevertheless inspires some pity and understanding. Although ...
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.
