“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...
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...
In Arrival, prolific Québécois director Denis Villeneuve ponders the ramifications and possibilities of a potential first-contact between human beings and an ad...
The Beautiful Days of Aranjuez, the latest wistful, contemplative narrative effort from German director Wim Wenders, is the type of “European Film” you might ha...
There’s a great recurring gag in Whiplash director Damien Chazelle’s La La Land -- a beautiful, audacious, aesthetically vibrant, and enchanting contemporary mu...
Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being medi...
There is a moment in Sean Penn’s new film -- for some reason screening this week in competition in Cannes -- when, having navigated the safe passage of a group ...
Motion, love for the Gaia, and lush orchestral music provide the backbone of Michaël Dudok de Wit’s The Red Turtle, a dialogue-free, feature-length animation ab...
Kim Nguyen’s Two Lovers and a Bear is a film that suffers from a bit of an identity crisis. Like an indie playlist stuck on constant shuffle, unapologetically r...
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.
