Deep into Rialto, Peter Mackie Burns’ sophomore feature, shy Dubliner Colm (Tom Vaughn-Lawlor) tosses something of a tagline: “We all hate our dads, it’s just n...
In Valentyn Vasyanovych’s post-apocalyptic Atlantis, the sky above Ukraine hangs like a sheet of steel, a uniform mass of clouds bucketing water onto the mud-co...
In a two-story building down a chronically flooded street, a dozen Filipino women brace for an encroaching departure. They are the domestic workers at the cente...
By any conservative approximation, in the week that spanned the moment I left the Locarno screening of Maya Da-Rin’s The Fever and the minute I began writing th...
“Does someone who’s broken a family deserve a happy future?” teenage Motoko fires at middle-aged Ichiko halfway through Koji Fukada’s A Girl Missing. The woman ...
Laconic and moody, a Metallica t-shirt worn like a second skin, fifteen-year-old Daniel hobbles through his pastel-colored, chintzy home in a stretch of British...
TV reporter Yoko sits with a member of her crew in the breakfast room of Tashkent’s Uzbekistan Hotel. She’s miles away from her native Tokyo turf, on an assignm...
From the mezzanine level of Caffè Verbano, Locarno’s Piazza Grande glitters under the scorching sun, the army of black and yellow chairs sprawling below the fes...
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...
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.
