In The Disciple, a dedicated student of traditional North Indian music must grapple with the nagging feeling that he might not be quite good enough. The film i...
At one point in The Book of Vision, a young woman spins around in ecstasy, arms spread wide like a whirling dervish, before falling to the grass. The D.P. has ...
In the new documentary King of the Cruise, to put it in the simplest of terms, a king takes a cruise. This journey is a God’s eye tour of the Celebrity Eclipse...
Always bold to some degree, seldom less than ambitious, William Friedkin's career as a filmmaker has resulted in countless awards; box offices records broken; ...
It's difficult to exactly quantify the impact of Cristi Puiu's second feature. The Death of Mr. Lazarescu is a film about an ambulance worker's attempts to get...
For more than two and a half decades, the films of Jia Zhangke have given the world a poetic and deeply personal account of the shifting social plains of moder...
When DAU. Natasha premiered at the Berlinale less than a moon cycle ago it was unprecedented and an entirely unique film. We now have precedent for the DAU mov...
In 2007, the Ross brothers left a life in Hollywood (Bill was an editor of blockbuster trailers; Turner worked in set design) to make a movie in their hometown...
It is no use of hyperbole to suggest that DAU. Natasha already looks like one of the most provocative art films ever made. The first strictly theatrical featur...
Not a huge amount takes place at the beginning of Days. The opening exchanges are elemental: wind blows; rain patters; grass shivers; a boy in pink shorts play...
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.
