Wes Anderson has done it all: India by train, Rhode Island by foot, the Mediterranean by sub, France by bike, faux-Germany by hotel, apple-orchard America by f...
On the heels of his premiere, nine hours after Netflix bought his newest film for $11 million, Todd Haynes is a happy man, seated casually at breakfast in the ...
It would be one thing for someone to have their life portrayed onscreen by an A-list actor, and another to invite that actor into their home for accuracy, to m...
Wolves are not subtle creatures. It’s a rhetorical question: “Can you find the wolves in this picture?” Who couldn’t spot wolves among humans? They’re much sma...
Few stories are as gratifying as the narrative jigsaw. How to fool the viewer into believing one thing without lying about what happened? It’s difficult enough...
New approaches to cinema are few and far between––as rare as a ticket to the lone Killers of the Flower Moon press screening at the 76th Cannes Film Festival––...
Bobby Farelly’s been out of the feature game for almost ten years. After a lucrative 20-year career writing, directing, and producing together, brothers Bobby ...
Following The Film Stage's collective top 50 films of 2022, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
It w...
On tour across high-profile fall festivals since its premiere at Venice in early September, Luca Guadagnino’s teen cannibal romance Bones and All lands in thea...
In the tradition of Okja and Hail, Caesar!, writer-producer-director Joanna Hogg has gifted the world with two Tildas (Swinton, that is) in one film. Just shy ...
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.