Penelope and Dimitris are professional pet cremators. They roam the sprawling periphery of an industrial Greek town, retrieve defunct animals from their owners...
Here’s a film for which the label “low-key” feels particularly misleading, one whose power resides in its simplicity, in its ability to conjure grace out of a ...
Midway through our chat, Andrei Konchalovsky squints at his coffee and takes a brief pause. We’re in the restaurant of a cozy boutique hotel in Tallinn, Estoni...
It seems as though you really have to be a Missolonghi native to appreciate the beauty of that swampy eel-fishing Greek town where the characters of The Miracle...
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...
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.
