The unnamed, invisible filmmaker wending you through Truong Minh Quý’s The Tree House talks from Mars, but all he shows of the red planet is a black screen, and...
A search and rescue mission wanders into an ice-covered landscape; a librarian tells his parents he will not have whale meat for dinner, and neither will his ki...
Patrick Vollrath’s 7500 is a one-room, one-man show. It asks you to spend 92 minutes inside the cockpit of an Airbus A319, and in intimate quarters with a young...
Somewhere along the stretch of Senegalese coastline where Mati Diop’s feature-length directorial debut Atlantics takes place, a futuristic tower stands tall and...
When Jeannette world premiered in Cannes’ Directors’ Fortnight in 2017, Bruno Dumont’s acolytes were left grappling with a taxonomical head-scratcher. Lo and be...
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...
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.
