Halfway through Phuttiphong Aroonpheng’s hypnotic feature debut, Manta Ray, two men put up Christmas lights around an unadorned riverside shack. They’ve known e...
“Do you feel like the story is exploitative?” a journalist asks actress Mabel (Jess Weixler) about the new film she’s starring in, early into Aaron Schimberg’s ...
A halo of unnatural, blue, and red neon-light envelops the snowy landscape around the Buddhist temple of Cheongpyeongsa. Wide awake in the dead of night–silent ...
A flock of dark, wavy hair covers Ángela’s luminous face as she stares at her father’s casket a few minutes into Rubén Mendoza’s heart-wrenchingly humane Niña E...
Bodies twirl to maddening EDM tunes and wobble home at the break of dawn; nostrils are pierced, snort coke and puff smoke; mouths chew, bite, and meet in voraci...
In the year of the Swedish master’s 100th birthday, Margarethe Von Trotta wraps a belated, posthumous gift with her Searching for Ingmar Bergman, a portrait of ...
Never had the Netflix logo been welcomed by Venetian audiences with an applause as rapturous as the one it received when the iconic N popped up to introduce wha...
With its gorgeously choreographed sword duels, sabers slicing through paddles of blood and rain, watercolor bi-chromatic palettes and sumptuous costumes, Zhang ...
Who needs a middle man’s subjectivity when you have algorithms predicting what people will like? Critics don’t matter much in Olivier Assayas’ talkative Non-Fic...
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.
