Cooked with a broth of a few too many ideas, A Land Imagined is a so-close-to-being-great Singapore neo-noir that does all the right things, but simply does too...
What immense health German cinema has found itself in lately. Since the turn of the decade, audiences of a certain ilk have grown accustomed to seeing names lik...
If there is an image to best introduce audiences to the grimy cinematic world of Ray & Liz–the remarkable debut feature of Turner prize-nominated visual art...
The last time that director Liang Ying released a film (When Night Falls, back in 2012) it was apparently deemed to be a dangerous enough critique of the Chines...
If you, as I, are the type to presume that a “dramaturgical assistant” is some form of midlevel job in a hospital’s oncology department you might be startled to...
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...
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.
