With just three features to his name, Tyler Taormina has cemented himself as one of the most perceptive chroniclers of small-town America. His 2019 debut, Ham ...
Fielding questions about Kubi, a period piece chronicling a few years of internecine feudal wars in 16th-century Japan, Takeshi Kitano dismissed some rumors he...
I always find it difficult to write about performances. Whenever I try I feel like I’m merely describing an actor’s work––how they talk, how they move––and the...
Where’s the filth? I wrote down the question on page two of my notes, roughly about when Queer entered its second chapter, sending Lee (Daniel Craig) and his y...
There’s something electrifying about watching a filmmaker break free from well-worn formulas and push themselves into new, uncharted territory. The Sparrow in ...
In the derelict, scraggly city in northwest China where Guan Hu’s Black Dog is set, human life has all but disappeared and canines have replaced their masters....
In a career spanning four decades and eight features, Alain Guiraudie has cemented himself as one of our most astute chroniclers of desire. If there’s any leit...
At a wake for the murder of Russian journalist and activist Anna Politkovskaya, shot dead in 2006 in the elevator of her apartment block in Moscow, French writ...
In 1953, Alain Resnais, Chris Marker, and Ghislain Cloquet produced Statues Also Die, one of the fiercest and most lucid indictments of white imperialism ever ...
An Italian-born, UK-raised film critic, Leonardo Goi is an alumnus of the Locarno Critics Academy and Berlinale Talents, where he coordinates the Talent Press. Along with The Film Stage, he writes for MUBI, Senses of Cinema, and Kinoscope. For reviews and reports from the festival circuit, follow him on Twitter at @LeonardoGoi.
