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...
Two things can be true at once. The old debate over whether Hong Sangsoo's cinema is overly earnest or self-aware was always a bit reductive––when the most lig...
Playing his signature brand of rural French absurdity in stark counterpoint to the grandiose strains of a space opera, Bruno Dumont returns with The Empire: hi...
The memes won't let you forget, but 2019 was half a decade ago. That was also the year Olivier Assayas' Wasp Network––an odd return to the realm of his TV seri...
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.
