The first time we hear music in Saeed Taji Farouky’s mesmeric A Thousand Fires is also the first time we’re offered a glimpse of the viscous substance around w...
In the post-apocalyptic nightmare of After Blue, humanity—or what’s left of it—roams a former paradise turned wasteland. The Armageddon that wrecked the Earth ...
In the arid, lunar landscape of Ainhoa Rodríguez’s Destello Bravío, a whole village waits for things to fall apart. We’re in the rural outskirts of Spain’s Ext...
Lê Bảo’s Taste is set in Saigon, but for the best part of its 97 minutes, all action is confined to a bunker-like abode where five people meet and hide. The pl...
Nothing happens in James Vaughan’s Friends and Strangers in the same way that nothing happens in the films of Hong Sangsoo. The people navigating this entranci...
In 1957, Soviet scientists sent an 11-pound mongrel into space. The dog’s name was Laika, and she survived less than seven hours; once the capsule overheated, ...
Legend has it that when Laika died on November 3, 1957, following a 5-hour journey that turned the dog into the first living creature to orbit the Earth, her s...
In 2018, Victor Kossakovsky set out to shoot Aquarela, a survey-symphony that took the Russian documentarian around the world to capture glaciers, waterfalls, ...
An aspiring twenty-something writer with a couple of poems in The Paris Review, Joanna’s just landed a gig at a New York-based literary agency. Working on othe...
The Hangzhou of Zheng Lu Xinyaun’s The Cloud in Her Room is a funereal city, a protean place rife with cranes and construction sites, where new buildings mushr...
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.
