No one moves abroad in Ted Fendt’s Foreign Travel; people walk plenty—mostly around Kreuzberg, Berlin—but the kind of wandering this erudite film is concer...
Sooner or later, conversations around the ever-growing oeuvre of Hong Sangsoo all land on the same word: repetition. That's kind of inevitable: few could e...
When I think about a quintessential Isabelle Huppert film, I like to defer to a largely forgotten feature that will soon turn ten: Serge Bozon’s 2017 Mrs. Hyde...
To belong to the diaspora is to inhabit a paradox: a state of in-betweenness, neither fully inside or outside one’s home and adoptive countries. Films tryi...
In a stray moment during Charlotte Zhang’s Tycoon, a young man says he stopped complaining to his landlord about the cockroaches invading his L.A. flat les...
It’s a tall tale out of a Borges story, the wildest conspiracy theory you’ve never heard. In the 1960s, Italian Benedictine monk Pellegrino Ernetti claimed...
Note: This review was originally published as part of our 2025 Cannes coverage. The Secret Agent opens in theaters on November 26.
When Armando (Wagner ...
Note: This review was originally published as part of our 2025 Berlinale coverage. Reflection in a Dead Diamond opens in theaters on November 21 and arrives on...
“Klara remembered who she was. She pulled away from the window and she was a sculptor, although she didn't always believe it, an artist––she believed them some...
Note: This review was originally published as part of our 2025 Cannes coverage. It Was Just an Accident is now in theaters.
If you were handed over the ...
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.
