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...
Some years ago, an uncle of mine traveled to Palestine with a group of volunteers. It was a time of fewer videophones, certainly in the region, and the organis...
Egos are charred and tempers seared in La Cocina, a kitchen nightmare set in the engine rooms of a vast Times Square eatery where the staff have more pressing ...
Anyone looking to debate the limits of progress should cast an eye on 1980s Ireland. As a generation born in revolution and civil war moved from farms to towns...
2023 had its fair share of memorable scores and music. Any year with new work from Joe Hisaishi and Mica Levi is going to be one for the books, but the last 12...
In The Animal Kingdom, an Un Certain Regard-selected science-fiction romp from France, human-animal mutations are the new norm. Director Thomas Cailley begins ...
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.
