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...
The final days of suburban American high school provide the backdrop to Giants Being Lonely, a box-fresh cut of expressionistic filmmaking from debut writer-dir...
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.
