It’s a brisk March morning in Luxembourg and my conversation with Paul Laverty has turned to Cantona. “Remember that goal he scored, with Brian McClair?” A cla...
Among the best things in The President’s Cake are the colors. There's the deep red of a rooster's comb as it peeks out from a young girl's carrying pouch; ...
I could name few living filmmakers better equipped for the Western than Alessio Rigo de Righi and Matteo Zoppis. The duo behind The Tale of King Crab––a film I...
Continuing in the low-key register of her Golden Bear winner Alcarràs, Carla Simón returns with Romería, another tale of intergenerational dissonance. A film a...
The laws of time and space are met with frisky ambivalence in Drunken Noodles, Lucio Castro’s anticipated third feature and surely the hottest title in this ye...
Just three years since earning a special mention from the Camera d’Or jury for Plan 75, Chie Hayakawa returns to Cannes as one of seven filmmakers debuting in ...
Note: This review was originally published as part of our 2024 Cannes coverage. Caught by the Tides opens in theaters on May 9.
Jia Zhangke's is often a cin...
Director Brittany Shyne didn’t grow up on a farm, but a family history rooted in agrarian work inspired her to make a film about Black land ownership and gener...
Note: This review was originally published as part of our 2024 Cannes coverage. The Surfer opens in theaters on May 2.
In The Surfer, an exploitation film s...
One thing I like to do at a film festival is go for a run. Maintaining the sense of a bubble at these things can be crucial: once entered, it’s best to remain ...
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.
