There is a symbol at the beginning, middle and end of Good Luck. It is a simple geometric circle with a horizontal line evenly separating top from bottom. Does ...
Tackling this posthumous release from renowned experimental filmmaker Raúl Ruiz with limited knowledge of telenovelas and the subtleties of early ‘90s Chilean p...
Mrs. Fang is a study of a face and a sober essay on death. It’s also about fishing. As profoundly moving as it is troubling, this new masterwork from documentar...
There is a problem with A Skin So Soft and it goes somewhat deeper than the very thing that that title so poetically calls to mind. The work of Canadian filmmak...
Mrs. Géquil is a delicate woman, at least in the eyes of her patronizing husband (played by José Garcia) as well as, perhaps, in the eyes of her boss and the va...
L'amant double is the sort of film you wouldn’t mind seeing Roman Polanski take a stab at. Shot in chic but soulless Parisian interiors, it’s the type of thing ...
There are few directors who would choose to take a semi-sincere approach to a lengthy pseudo-philosophical science-fiction film -- especially not one that light...
It’s probably safe to say that, up until now, no lucid person had compared a Safdie brothers film to the work of Michael Mann. Indeed, it may still be a stretch...
Fatih Akin sends a cumbersome bull into the socio-political china shop of present-day Germany, and all its racial and social divides, with In the Fade, a compel...
Hindsight is a marvelous thing. To quote the lead character of a recent Hong Sang-soo film (and by recent we mean Claire’s Camera, the second of three the proli...
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.
