Note: This review was originally published as part of our 2025 Venice coverage. The Smashing Machine arrives in theaters on October 3.
The Smashing Machine ...
No festival in the world wears its history on its sleeve quite like Sarajevo. Sitting in for a screening of La Grande Bellezza (after Paolo Sorrentino had rath...
The new documentary With Hasan in Gaza––a poignant, meditative portrait of a city now fighting for its life––works as both a travelogue and time machine. In 20...
Gus Van Sant returns with Dead Man's Wire, a movie shot in the same late-70s hues as Kelly Reichardt's recent gem The Mastermind, and likewise concerned with u...
In The Testament of Ann Lee, Amanda Seyfried gives the finest performance of her career. The actress shakes, rattles, and moans through a selection of 18th-cen...
Father Mother Sister Brother offers three movies for the price of one. The first is set on a frosty lakeside in the home of a man (Tom Waits) who's visited by ...
Writing about another great Locarno film a few days ago, I lamented the critical inclination to always bring up Éric Rohmer and Hong Sangsoo. Regardless, i...
Never underestimate the critical desire to cite Éric Rohmer––spend enough days at a film festival and you’ll start noticing illusions to the director’s wor...
Note: This review was originally published as part of our 2024 Berlinale coverage. Suspended Time opens in theaters on August 15.
The memes won't let yo...
What is Mektoub, My Love about? Eight years since the first movie’s release––and after more than eight hours of Abdellatif Kechiche’s magnum opus––it’s sti...
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.
