Almost nine years to the day since Mad Max: Fury Road premiered in Cannes, George Miller returns to the Croisette with Furiosa: A Mad Max Saga. It's a deafenin...
Quentin Dupieux returns with The Second Act, a playfully dour satire on the film industry that sees the French absurdist delve further into the apocalyptic moo...
What kind of things does an obsessive documentarian like to watch in their free time? It's a question I was curious to ask John Wilson, a filmmaker who––over t...
It can be a fine line between goodbye and good riddance. Carlo Chatrian might have breathed a sigh of relief when his tenure as Berlinale's creative director c...
Jia Zhang-ke could fairly claim to be the most important filmmaker of his generation; he'd probably be the last person to do so. Audiences tend to scan Jia’s w...
How do you even start to write about Chime, a film that keeps secrets guarded and lives off the shocks of its knife-edge turns? It’s safe to say the director i...
Shô Miyake's All the Long Nights is a film about small things: decency, kindness, why people help each other out, how those acts can inspire others. The first ...
At the start of 2022, in the lead-up to the Oscars, Norwegian actress Renate Reinsve was in the spotlight. So was the story of how close she came to quitting a...
The new film from Johan Renck, efficiently titled Spaceman, offers two central conceits. The first: that a vessel en route to a cloud of purple dust, somewhere...
Hunter Schafer is a very good actress. This probably won't be news to anyone who watched even the first episode of Euphoria, where her aching vulnerability see...
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.
