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...
The Woman Who Ran opens on a lovely shot of hens. The camera then pulls back to show the garden of a middle-class apartment block where a woman named Youngsoon...
A girl in a headscarf meets a boy in a mask while trying to shoplift from the corner store where he works. She is frustrated from living at home with an uncle ...
Following up a successful work of lucid experimentation like Transit can be a tricky undertaking: does one lean back toward the basics or further up the ante? ...
In Malmkrog, a group of Russian aristocrats gather in a grand rural estate to wax philosophical during a long and luxurious dinner party. The film offers seemi...
Of all the monumental parts that tend to constitute the films of Jia Zhangke–the shifting socio-economic landscapes; the departing mountains; Zhao Tao–none has...
Over the course of more than two decades Ukrainian filmmaker Sergei Loznitsa has quietly established himself amongst the great political filmmakers of the 21st...
In Ghost Tropic, a woman falls asleep on the last train home and misses her stop. Short on options and cab fare, she decides to walk. A mall security guard lets...
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.
