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...
Cannon fire rumbles menacingly in the distance, but it’s human desire that might prove to be the greater threat after all in The Beguiled. Set to the backdrop o...
Director Jonas Carpignano returns with his first film since Mediterranea (which broke out from Cannes Critics' Week sidebar two years ago) to remind us that alp...
It's more Pastiche du Godard than Histoire(s) du Godard in Michel Hazanavicius’ Godard Mon Amour and that’s not a bad thing. The director’s slight but surprisin...
There are surely few sweeter delights in this troubling world of ours than seeing Willem Dafoe politely escort a group of storks off a motel driveway. It is, pe...
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.
