Note: This review was originally published as part of our 2025 Berlinale coverage. The film opens in theaters on February 27.
The last time Hong Sangsoo...
Deep into the second week of another tumultuous (and freezing cold) year at the Berlin Film Festival, Angela Schanelec arrives with a welcome reminder of what ...
In Home Stories, a young woman from the town of Griez in East Germany is selected to compete on a TV talent show—an opportunity that will require her family to...
If period filmmaking's credibility can be measured by the audience's ability to imagine said person scrolling on an iPhone, Markus Schleinzer deserves reco...
Eleven years ago, Tom Courtenay arrived at the Berlinale with Andrew Haigh’s 45 Years, an exquisitely observed study of emotional dilemma in which the British ...
Last week, the jury president of the Berlin Film Festival claimed that this year’s edition would provide an “opposite” to politics. If such a thing exists,...
The new film from Anthony Chen takes a minute to find its rhythm. For the first hour or so of its admittedly substantial runtime, I couldn’t help but wonder if...
Moulding cruel or nihilistic characters into darkly attractive protagonists requires a deceptively delicate touch. We’ve grown so used to seeing it done effort...
It’s rare for a film as good as First Light to slip through the cracks of the major festivals. This debut feature from Filipino-Australian director James J...
Seven years after collaborating on The Plagiarists, writers James N. Kienitz Wilkins and Robin Schavoir return with The Misconceived—another incisive, inventiv...
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.
