Rory O'Connor

[Venice Review] Jackie

Chilean filmmaker Pablo Larraín certainly isn’t beating around the bush with his latest film, Jackie, a strange, refreshingly cynical, and unexpectedly cerebral...

[Venice Review] The Bad Batch

Ana Lily Amirpour’s second feature shoots for Harmony Korine meets Mad Max and would have nearly almost hit the mark were it not for the gratingly aloof attitud...

[Venice Review] A Woman’s Life

Misery is constant and humor is fleeting in the world of A Woman's Life (Une Vie), an emotionally overcast period drama from French filmmaker Stéphane Brizé (Th...

[Venice Review] The Untamed

There’s something dark and wonderful lurking in The Untamed, the brilliant, frightening, hyper-real erotic mystery from the mind of Mexican auteur Amat Escalant...

[Venice Review] Hacksaw Ridge

Mel Gibson is back in the director’s chair after a decade to remind us, in his own devout way, that war is hell and faith is good. Hacksaw Ridge, his new World ...

[Venice Review] Safari

Isn’t it strange how cinema’s greatest misanthropes always seem, deep down, to be the most empathetic. It’s as if the total lack of sentiment for (and complete ...

[Venice Review] Nocturnal Animals

“You have to learn to enjoy the absurdity of our world,” says Michael Sheen’s L.A. socialite to Amy Adams' disillusioned art gallery owner at the after party of...

[Venice Review] Chuck

Chuck looks a bit familiar. A film of browns and greens; disco music and ‘70s rock tunes; big haircuts and even bigger lapels. Indeed, in a way reminiscent of r...

Rory O'Connor

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.