Karim Aïnouz’s Invisible Life is a tale of resistance. It hones in on two inseparable sisters stranded in–and ultimately pulled apart by–an ossified patriarcha...
Of the many labels Xavier Dolan’s Matthias & Maxime came attached with ahead of its Cannes premiere, few felt as apt as those that billed the Canadian’s eig...
Héloïse bursts into the frame with her shoulders to the camera. She wears a long dress; it billows gently as she walks outside her house in 18th century Brittan...
When Austrian farmer Franz Jägerstätter (August Diehl) glances skyward and calls for God to show him a sign, to guide him, what does he hear? The rumbling of a ...
Akiko’s Buddhist hostel has a message for its visitors, a laminated card sitting on a window sill: “Leave no trace, no face. In fact, leave only a presence, a f...
The zombies hobbling around the streets of the fictional, bucolic US city of Centerville have been awakened by global warming (specifically, from the ruthless f...
In 2017, by the time the Chinese government began to furiously clamp down on the country’s live-broadcasting frenzy, a whopping 422 million Chinese regularly tu...
“I lose my keys every other week. I’m a fraud of a person. Do you see me raising a kid?” When Vir finds out she’s pregnant, early into Carlos Marqués-Marcet eng...
The kids roaming around the streets of Naples in Claudio Giovannesi’s Piranhas snort cocaine, hang out with hookers, and fire assault weapons. They are the bare...
Simon died, or perhaps he killed himself. His car raced through a wintry country road, span, crashed. None of the 215 inhabitants of his native Quebecois hamlet...
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.
