The first time I came across the name John C. Lilly I was––rather fittingly, for reasons that will become clearer in a minute––not exactly sober. Late in the n...
Consider the logline: a 34-year-old, pre-diabetic, 250-pound, extremely anxious loner finds respite as a cleaning simp for dominatrices eager to belittle h...
Positive or not, all critical appraisals of Hélène Cattet and Bruno Forzani’s films inevitably land on the same talking point: their inordinate cinephilia....
Is Mark Ruffalo giving a Trump impression? It’s early into Bong Joon Ho’s Mickey 17 when the actor struts into the frame in a velvety blazer, wife Ylfa (Toni C...
The title isn’t an order; it’s a plea. Wind, Talk to Me, Stefan Djordjevic’s feature debut, began as a portrait of the director’s ailing mother, Negrica, a...
A few years back, directors Lois Patiño and Matías Piñeiro joined forces for what was meant to be a very loose adaptation of Shakespeare’s The Tempest. The res...
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...
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.
