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    • The Criterion Collection’s May Lineup Includes Akira Kurosawa, Bob Fosse, and Joachim Trier on 4K

    • First Look at Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma, Set for August Release

    • Isabelle Huppert is The Blood Countess in Exclusive Poster for Ulrike Ottinger’s Berlinale Premiere

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    • Legendary Director Haile Gerima Returns in Exclusive Trailer for Black Lions – Roman Wolves, Premiering at Berlinale

    • Two Prosecutors Trailer: Sergei Loznitsa Captures a Quest for Justice

    • Omaha Trailer: John Magaro Takes a Heartbreaking Road Trip

  • Reviews

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    • Berlinale Review: Alain Gomis’ Dao is a Riveting Family Saga

    • Berlinale Review: Rosebush Pruning is a Maximalist, Muddled Attempt at Cinematic Transgression

    • Rotterdam Review: First Light is a Calm, Confident Debut

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    • NYC Weekend Watch: Diane Keaton, The Brown Bunny, 2001 In Cinema & More

    • New to Streaming: Marty Supreme, Is This Thing On?, The Librarians, Happyend & More

    • The Best Movies Now Playing in Theaters

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    • “We Cut 95% of It Out”: Matt Johnson on Nirvanna the Band the Show the Movie, Constant Re-Editing, and Season 3

    • Cashiers Du Cinéma Editors on Programming Their BAM Series and Celebrating Cinema Workers

    • Sam Rockwell on His Most Overlooked Films and Working with Gore Verbinski

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    • The B-Side Ep. 175 – Rachel McAdams

    • The Best Films of 2025 and Most-Anticipated Films of 2026

    • The B-Side Ep. 174 – James Stewart (with Mitchell Beaupre)

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    • The Best Movies Now Playing in Theaters

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    • “I Still Feel Like an Outcast”: Michael Almereyda on Nadja, Peter Fonda, David Lynch’s Fantômas, and Zero K

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    • “We Cut 95% of It Out”: Matt Johnson on Nirvanna the Band the Show the Movie, Constant Re-Editing, and Season 3

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News

Exclusive: Escape to 2023 Rockaway Film Festival Featuring Fantasia, John Wilson, A Still Small Voice & More

TIFF 2023 Adds New Films by Harmony Korine, Tarsem, Larry Charles, Patricia Arquette & More

Jim Jarmusch Will Never See a Star Wars Film: “I Resent That I Know So Much About Them”

First Look at Harmony Korine’s Infrared Action Film Aggro Dr1ft Starring Travis Scott

Michael Mann’s Ferrari Revs Up North American Premiere as Closing Night of NYFF61

TIFF 2023 Adds Documentaries by Frederick Wiseman, Errol Morris, Raoul Peck, Roger Ross Williams & More

Watch the Trailer for Travis Scott, Gaspar Noé, Nicolas Winding Refn, Harmony Korine, Valdimar Jóhannsson, and Kahlil Joseph’s Circus Maximus, Opening Thursday

Cinema Guild Will Release Pedro Costa’s The Daughters of Fire and Hong Sangsoo’s In Water on a Double Bill

Ryūsuke Hamaguchi Will Debut His Second New Film of 2023, Gift, with a Live Score from Eiko Ishibashi This October

Watch George Lucas’ Documentary on the Making of Francis Ford Coppola’s The Rain People

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Berlinale Review: Alain Gomis’ Dao is a Riveting Family Saga

Berlinale Review: Rosebush Pruning is a Maximalist, Muddled Attempt at Cinematic Transgression

“We Cut 95% of It Out”: Matt Johnson on Nirvanna the Band the Show the Movie, Constant Re-Editing, and Season 3

The Criterion Collection’s May Lineup Includes Akira Kurosawa, Bob Fosse, and Joachim Trier on 4K

First Look at Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma, Set for August Release

NYC Weekend Watch: Diane Keaton, The Brown Bunny, 2001 In Cinema & More

Cashiers Du Cinéma Editors on Programming Their BAM Series and Celebrating Cinema Workers

Legendary Director Haile Gerima Returns in Exclusive Trailer for Black Lions – Roman Wolves, Premiering at Berlinale

Rotterdam Review: First Light is a Calm, Confident Debut

New to Streaming: Marty Supreme, Is This Thing On?, The Librarians, Happyend & More

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