Liberalism will eat itself! At least according to The Party, that is, and we’re not just speaking figuratively. Indeed, at one point in Sally Potter’s new film ...
Enough footage of Alberto Giacometti exists to suggest that Geoffrey Rush is quite uncanny as the renowned surrealist sculptor in Final Portrait, a depiction of...
There’s much to talk about over The Dinner, a rather cold and over-flowing plate of black comedy and moral conundrums that leaves one with a certain sinking fee...
Chilean filmmaker Pablo Larraín certainly isn’t beating around the bush with his latest film, Jackie, a strange, refreshingly cynical, and unexpectedly cerebral...
You could argue that Terrence Malick has been trying to find or express catharsis in his films as far back as 1978's Days of Heaven. That trope has become more ...
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...
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...
Is control a myth? Are accidents? Are our actions another variable in the randomness of the cosmos or are they preordained, at the mercy of the gods? These are ...
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...
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.
