If the title of Simon Brückner’s new documentary conjures images of Bavarian beer halls or seedy nights at Kit Kat, don’t get your hopes up. There is an ample ...
It’s the final day of the 2022 Cannes Film Festival and Darius Khondji is reminiscing. “The films that inspired me to be a cinematographer,” he explained, dipp...
If Cristian Mungiu isn't the most prolific filmmaker to emerge from Romanian cinema's gilded age, he does tend to cause a stir. Cristi Puiu was first in the do...
For Mia Hansen-Løve, the 2022 Cannes Film Festival marked a few returns. A year on from premiering Bergman Island, Hansen-Løve screened One Fine Morning, the d...
It’s mid-May at the Cannes Film Festival and David Cronenberg is relaxing on the roof of the J.W. Marriot Hotel. Two days earlier, his latest film enjoyed a ra...
At around the halfway point of Sofia Coppola’s Somewhere a young girl and her distant father jumped into a swimming pool. The characters' relationship was frau...
Two years after First Cow, which we collectively named our favorite film of 2020, Kelly Reichardt returns with a work like a line drawing: neat, lean, evocativ...
Pacifiction is what Albert Serra might describe as an unfuckable movie. “Unfuckable is, you take the whole thing or you don’t take it but you cannot apply...
Mia Hansen-Løve once spoke of her corpus like a home: "I think of my work on two levels: the film itself, and then the film as a part of a larger whole. A hous...
In Crimes of the Future, an underground movement of performance artists try understanding a world in which humans grow new organs on a regular basis and pain, ...
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.
