At the beginning of The Permanent Picture a teenage girl gives birth, gives up her baby, and disappears. Then, 50 years later, a casting director discovers her...
It’s February morning in Berlin. “I’m a little out of consciousness,” Christian Petzold explains, a tad frazzled but keen to talk––and Petzold likes to talk. H...
It's a crisp morning in Nyon and Lucrecia Martel is going off on one. “To arrive at a meaning you need a sentence, so that is the word order," she begins, her ...
Last time Benoît Magimel appeared in the Cannes competition, a vision in Albert Serra’s Pacifiction, he played a foreign diplomat who stalked an island of Fren...
When asked, in 2019, to explain why her first three features begin during the night, Alice Rohrwacher recalled the long drives she would take with her beekeepi...
In The Old Oak, an English man and a Syrian woman become unlikely friends on one side of a simmering culture war. It's the latest from Ken Loach and, if report...
In Club Zero, the students of a radical nutrition class are taught the benefits of eating consciously––if they choose to eat at all. It's the latest film from ...
Near the halfway point of The Delinquents, a funny, existential epic from Argentina, a banker dips into an arthouse cinema. Though almost all the seats are fre...
In 2006, Aki Kaurismäki was asked what he felt young filmmakers lacked. His response was almost Cartesian: “Humility," the director suggested, "Above all, it i...
Look near the top of Wes Anderson's latest rolling cast and you'll find Rupert Friend, who made a brief appearance in The French Dispatch, and a rare Wes first...
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.
