Writing on Martin Scorsese's Shutter Island in 2010, Anthony Lane whipped a quote from Umberto Eco: "Two cliches make us laugh but a hundred clichés move us, b...
This year's Cannes competition began with a film set in a working-class environment where a young woman with a single mother dreamed of escaping it all through...
The best festivals point to the future, capture the zeitgeist, or honor the past. At Locarno in 2015, you could have had all three: Ryusuke Hamaguchi's Happy H...
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 ...
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.
