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...
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...
In the derelict, scraggly city in northwest China where Guan Hu’s Black Dog is set, human life has all but disappeared and canines have replaced their masters....
At a wake for the murder of Russian journalist and activist Anna Politkovskaya, shot dead in 2006 in the elevator of her apartment block in Moscow, French writ...
In 1953, Alain Resnais, Chris Marker, and Ghislain Cloquet produced Statues Also Die, one of the fiercest and most lucid indictments of white imperialism ever ...
Jumper, Justin Anderson’s first short, opened on a naked man bathing in a pool. Conceived in 2014 for the tenth anniversary of British fashion designer Jonatha...
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.
