If Chris Marker and Preston Sturges ever made a film together, it might have looked something like Grand Tour, a sweeping tale that moves from Rangoon to Manil...
In Universal Language, a man makes a journey to his childhood home and meets the family now living there––these are at least the broad strokes. The director is...
In The Surfer, an exploitation film set to pressure-cook, a mild-mannered man is pitted against a group who even Andrew Tate might find a touch extreme. It's s...
David Cronenberg's films have often imagined a future where technology would find a way into our collective id. 55 years into the director's incomparable caree...
Jia Zhangke's is often a cinema of déjà vu: "We’re again in the northern Chinese city of Datong," Giovanni Marchini Camia wrote for Sight and Sound back in 201...
Scale, sweep, or schadenfreude; whatever you might be seeking in the films of Kevin Costner, you tend to walk away with the vistas. Think of the golden plains ...
The cinema of Paul Schrader has always felt like a confessional, all those dark rooms and troubled men, the registered Swiftie's own tortured poets department....
Writing on Martin Scorsese's Shutter Island in 2010, Anthony Lane whipped a quote from Umberto Eco: "Two cliches make us laugh but a hundred clichés move us, b...
This year's Cannes competition began with a film set in a working-class environment where a young woman with a single mother dreamed of escaping it all through...
The best festivals point to the future, capture the zeitgeist, or honor the past. At Locarno in 2015, you could have had all three: Ryusuke Hamaguchi's Happy H...
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.
