The jump from cinematographer to director doesn't happen so often. Barry Sonnenfeld, Jan de Bont, Ernest Dickerson––an attractive list, if a short one. The lat...
Watching When the Light Breaks on a recent day in Thessaloniki, I spared a thought for anyone in the audience who might be wary of Gen-Z's famed sensitivity. F...
Not many people have mourned 3D cinema's second waning. Yet, every now and then, the old parlor trick threatens to capture the imagination. I can think of two ...
It’s a shame Toxic wasn’t around for the recent excretions of body-horror discourse. Saulė Bliuvaitė's debut feature, winner of the Golden Leopard at this year...
Autumnal romance blooms in My Favourite Cake, a film about seeking passion in life and being bold enough to act when opportunities arise. The directors are Mar...
Souleymane's Story delivers a political fable with all the grit and urgency of a thriller. It follows a Guinean food-delivery driver (Abou Sangare, brilliant i...
Grieving comes in many guises. In Courtney Stephens' Invention, speculative fiction blends with personal history to explore the ways we process death. The subj...
Early last year, a theory started doing the rounds: if comic-book movies have lost their sheen, might video-game adaptations take their place? Two of the bigge...
In a sunny kitchen in California, Ruth prepares a sandwich with the muscle memory that only a lifetime allows. Bread is toasted and left to cool; dill is picke...
In life and in cinema, Pedro Almodóvar likes to talk about death. When people aren't losing their faculties in his films––like going blind (Folle... folle... f...
Irish-born, Berlin-based, Rory O'Connor has been covering the European film festival circuit since 2012. A regular contributor to The Film Stage, his work has also appeared in Frieze, The Playlist, and CineVue.
