After her Locarno premiere, we talk to the Chilean director about growing up fast in a commune, cinema as a means to rescue one’s memories, and Chile’s own adolescence....
Halfway through Dominga Sotomayor’s movingly tender coming-of-age tale Too Late to Die Young (Tarde Para Morir Joven), my mind jolted back to a movie I saw and ...
Dumont spoke with us about his fascination for Joan of Arc, the crucial changes between Jeannette and Jeanne, and some unconventional methods to direct his actors....
“I’m like everyone else,” writes about himself Cristiano (Aristides de Sousa), the working class hero at the center of Affonso Uchoa and João Dumans’ Araby, “It...
I wish there was a way I could start this review of Carla Simón’s extraordinary Summer 1993 with its final scene. Not because there are eye-opening or plot-unra...
Halfway through writer-director Jean-Paul Civeyrac’s cinephile coming-of-age story A Paris Education, a girl confronts a budding filmmaker: “You seem out of tou...
A few minutes into Donal Foreman’s The Image You Missed, a voice-over comes to an abrupt stop: “each film is a mission impossible, but this one here, it was the...
Contrasts abound in Juliana Rojas and Marco Dutra’s terrifyingly captivating Good Manners, a horror-meets-children’s-movie that uses all the tropes at its dispo...
A few minutes into Helena Wittmann’s Drift, two young ladies sit at a bar and recount an old myth from Papua New Guinea. It’s an anecdote of the world’s creatio...
The past is a home country in Corsica-born French director Thierry de Peretti’s second feature, A Violent Life. A crime saga chronicling Corsica’s gruesome 1990...
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.
