You don’t need to have lived in the proverbial middle of nowhere to understand the kind of terror Alexandre Bustillo and Julien Maury’s The Soul Eater mines fr...
Early into Pham Thien An’s sprawling, stupefying Inside the Yellow Cocoon Shell, there’s a shot that manifests Caravaggio inside a shack in rural Vietnam. Havi...
A film enamored with stories and with the art of telling them, Éléonore Saintagnan’s Camping du Lac opens with the director addressing the audience the way a r...
In an interview with the Metrograph Journal, Eduardo Williams remembers the first time he ventured into a jungle. Rumor had it the forest teemed with cougars, ...
If the recent mushrooming of A.I. recreations and YouTube / TikTok parodies of Wes Anderson’s cinema serve any purpose, it’s to show that his ongoing allure is...
Whatever one may think of Luc Besson’s oeuvre, his films work best when they live up to their trashy potential. The director’s cinema is littered with all-out ...
Over the past six years Quentin Dupieux has been working at Hong Sangsoo’s speed, churning out a film every few months. The streak kicked off in 2018 with the ...
The people dotting Leonor Teles’ shorts are all caught in the midst of seismic transformations, drifters who watch their home turfs push them away and change a...
“Rossellini’s films,” Jacques Rivette wrote in a letter to Cahiers du Cinéma dated 1955, “have more and more obviously become amateur films––home movies.” The ...
Late into Lisandro Alonso’s Jauja, Viggo Mortensen’s Captain Gunnar Dinesen disappeared into a cave. What happened next, in that unnamed stretch of 19th-centur...
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.
