The pastures in Nuri Bilge Ceylan’s luminous new film are only dry at the very end. Save for that brief summery coda, the landscape in About Dry Grasses remain...
Remember Titane? The day after Julia Ducournau’s Palme d’Or, a couple of summers ago in Cannes, Nanni Moretti took to Instagram and shared a selfie. The pictur...
For all their grisly mayhem, the earliest films by Takeshi Kitano all demonstrated a keen grasp of negation. Violence was an omnipresent fixture of his first c...
Back in 2017, Warwick Thornton landed in Venice with a western that offered some corrective to the white-savior narratives of countless others in the genre. Sw...
A body and an island become sites of resistance in Glorimar Marrero Sánchez’s The Fishbowl, a fitfully incendiary, entrancing portrait of a woman engaged in a ...
Late into Bianca Lucas’ feature debut, a character ventures a few verses: “Listen to the moan of a dog for its master / That whining is the connection / There ...
In August 2011, The Guardian ran a two-page spread that wound up christening a brand-new cinematic movement. Written by Steve Rose, “Attenberg, Dogtooth, and t...
Perched on the shores of lake Revine, in North East Italy, Lago Film Fest has cemented itself as a go-to event for short film enthusiasts around the world. Now...
Thirty or so minutes into Angela Schanelec’s Music, a character makes a startling discovery. We’re inside a prison on the outskirts of an unidentified Greek to...
“Did you know that we keep on hearing after we’re dead?” The question comes up early into Lois Patiño’s Samsara but haunts the film from first shot to last, do...
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.
