Jennifer Kent’s The Nightingale features some of the most atrocious on-screen violence in recent memory. It is a cauldron of blood, murders, and rapes so unflin...
Anyone transfixed by the hyper-stylized meathead triumph of blood and violence of Brawl in Cell 99 should be warned. Dragged Across Concrete, S. Craig Zahler’s ...
When Vincent Van Gogh stares at the flat southern France landscape in Julian Schnabel’s contemplative At Eternity’s Gate, what does he see? Cemeteries of dead s...
Surprise may not be the first reaction you’d expect to have when watching the umpteenth remake of a romance as old as Hollywood itself, but the adjective proves...
The English royals populating Yorgos Lanthimos’ rollicking period drama The Favourite may not know much about the country’s ongoing war with France, but they’re...
“When you get a different vantage point, you get a new perspective,” says Ryan Gosling to a group of NASA officials recruiting astronauts early into Damien Chaz...
Tucked deep into Mariano Llinás’ monumental 14-hour, 3-part, 6-episode epic La Flor is a montage that only spans a few minutes. Introducing the film’s third and...
“He’s hardly a real auteur,” says a woman of an arthouse director in Hong Sangsoo’s achingly melancholic Hotel by the River, “and he does ambivalent stuff.” Hon...
Reception can be pretty unreliable atop the mountains of Turkey’s Black Sea Region, so the women picking tea leaves in Çağla Zencirci and Guillaume Giovanetti’s...
“I was a singer,” 35-year-old Menahem Lang introduces himself at the outset of Yolande Zauberman’s piercing documentary M, “and then I became a porno kid." A se...
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.
