If you dove head first into Francis Ford Coppola’s Megalopolis, you would get a concussion. The filmmaker’s supposed opus––a glitzy, gargantuan, long-gestating...
On a bright summer day in a tent on top of the sultry clay courts that give the Tennis Club Venezia its name, writer-director Ryûsuke Hamaguchi––known for his ...
We don’t step evenly into Sons. Over the stretch of a long, grim elevator ride––face-to-face with Eva (Sidse Babett Knudsen), a middle-aged woman working as a ...
Following The Film Stage's collective top 50 films of 2023, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
The ...
One night in 2016, I was working at a small movie theater in Austin, Texas, when a man leaned over the cash register and shook my hand. “Thanks for tonight,” h...
Raised in tow of a military stepfather, 14-year-old Priscilla Beaulieu lives in a West German US Air Force base when we meet her in 1959––the year she meets El...
In Modena, everyone is losing––the football club, the women, the Ferraris. It’s the spring of 1957, and ex-racer-turned-entrepreneur Enzo Ferrari (Adam Driver)...
Bella Baxter––whose organic internal makeup I’ll leave to shocking reveal––was born an adult woman. The furiously beating heart of Yorgos Lanthimos’s new film,...
Wim Wenders is back, and he’s brought Lou Reed (still dead) with him. It’s not that Wenders hasn’t been making films. He has. It’s just that the only good ones...
For his last trick, at the 2022 Cannes Film Festival, Italian maestro Marco Bellocchio turned the 1978 Red Brigade kidnapping and assassination of Prime Minist...
A New York City film journalist by way of Austin, TX, Luke is an arts enthusiast who earned his master’s studying film philosophy and ethics at Duke. He thinks every occasion should include one of the following: coffee, whiskey, tea, gin, beer, or olives.
