If the direct emotion pull and inclusive vibe of Naoko Ogigami’s Close-Knit could be expressed in a single scene it would perhaps be the moment early (Ogigami’s...
What Kiarostami is to the front seats of a car and Bresson is to the prison, so Aki Kaurismäki is to the perennial mid-80s Helsinki; that dark pastel-colored no...
As the ice flows thaw in the 24-hour daylight of a northern Norwegian summer, so too does the relationship of a father and son in Thomas Arslan’s Bright Nights,...
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...
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.
