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...
A few weeks ago, as The Sweet East started gracing theatres across the States, Reverse Shot ran a sprawling conversation between critic K. Austin Collins and c...
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...
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.
