What can we tell about an artist from the places they’ve been, the films they’ve made or the sketches they’ve drawn? And what if that person happens to be Orson Welles? ...
Near the close of Howard Hawks’ 1932 film Scarface, Paul Muni’s worn out hoodlum looked up to see a billboard for Cook’s Tours with a slogan that, with more tha...
Inverted commas withstanding, “I Do Not Care If We Go Down in History as Barbarians” seems like an awfully long and pretentious thing to call a film. Indeed, it...
To be painfully frank, when it comes to young actors in coming-of-age movies, the road from breakout performance to any kind of relative success (or even freque...
If the protagonist of Diamantino reminds you of a certain celebrity it is, as we can only presume, not accidental. The character in question–for whom this hallu...
At what point do vaguely-related surface movements form into something resembling a wave? The idea of a so-called “Berlin School” has been doing the rounds for ...
It probably says more about Ciro Guerra’s last film than this inimitable new offering (which he co-directed with his long-serving producer Christina Gallego) to...
Last week we saw a film from Pawel Pawlikowski that crossed continents and spanned decades and lasted a mere 84 minutes. With the exception of a devastating cli...
There is a movie within the movie Knife + Heart and it boasts the slightly euphemistic title of Homocidal (although I prefer the working title: Anal Fury). It i...
The films of Alice Rohrwacher have always been rich with the sensory magic of growing up, but that atmosphere has, up to this point, been enhanced with the know...
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.
