In Mad God, a character called “The Last Man” (played by the great Repo Man director Alex Cox) runs a laboratory sending miniature explorers into the bowels of...
Two years on from swooping the Golden Bear in Berlin with Synonyms (one of our favorites of 2019), Nadav Lapid returns with Ahed's Knee, a fraught and blisteri...
After a grueling experience with HBO's Big Little Lies, Andrea Arnold returns with her first film in five years. Positioned somewhere in the world of documenta...
Relatively speaking, Ryûsuke Hamaguchi is having a good 2021. Less than six months on from picking up the Silver Bear in Berlin for Wheel of Fortune and Fantas...
Titane begins not with a whimper but a cacophony: a deafening engine rev; the crash as car meets concrete; then the image of a girl in a horrific head-brace, l...
In A Hero, the discovery of a bag of gold coins sets the scene for a knotted Bressonian morality tale. The director is Asghar Farhadi, a filmmaker who has spen...
Stories from multiple perspectives have been onscreen at least since Rashomon, but even the great Akira Kurosawa might have found something to like in the new ...
Parenthood, relationships, and the creative process: three key elements of the cinema of Mia Hansen-Løve casually combine in Bergman Island, a playfully self-a...
Petrov’s Flu opens on a stuffy commute—a Moscow bus in the early years of post-Soviet Russia. The eponymous protagonist is already bent over a handrail, strick...
It seemed inevitable that Haruki Murakami’s prose would find a way into the films of Ryusuke Hamaguchi. The director returns with Drive My Car, based on Muraka...
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.
