The Film Stage - Page 1014

Cannes Review: With ‘Ash is Purest White,’ Jia Zhangke Stages Another Exceptional Platform for Zhao Tao

It should go without saying that, regardless of genre, period, or just about any other contributing factor, any new release from Jia Zhangke is something with w...

Cannes Review: Ali Abbasi’s ‘Border’ Brings Grungy, ‘Frankenstein’-Like Romance

"I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge th...

First Trailer for Jafar Panahi’s Cannes Entry ‘3 Faces’ Takes a Kiarostami-Like Road Trip

Though there exists evidence (read: four feature films) that Jafar Panahi's 20-year filmmaking ban has largely turned symbolic, every work nevertheless feel...

Cannes Review: Jean-Luc Godard’s ‘The Image Book’ Displays an Infuriating, Stimulating Love of Cinema

So, what to make of this Le Livre d’Image? Hmm. Speaking at the ISM in Berlin recently, Brian Eno (that granddaddy of sonic soups) pondered why we sometimes get...

Cannes Review: Christophe Honoré’s ‘Sorry Angel’ is a Rote But Practiced Age-Gap Romance

We can assume that Christophe Honoré’s 10th big-screen feature as director might trigger some viewers’ short-term memories -- and perhaps apprehension, too. Con...

Review: ‘Curvature’ is Entertaining But Minor Sci-Fi

It's been a week of grief and mourning for Helen (Lyndsy Fonseca) after finding her husband Wells (Noah Bean) dead by suicide at their secluded cabin. She's dea...

NYC Weekend Watch: ‘First Reformed’ Origins, the Caan Film Festival, ‘Twin Peaks’ & More

The best films screening in NYC this weekend....

Cannes Review: ‘Ten Years Thailand’ Offers a Largely Bleak Vision of the Country’s Future

In the 2015 omnibus film Ten Years, five Hong Kong filmmakers offered visions of what their country might look like in 2025. Dystopian and fiercely critical of ...

Cannes Review: Paweł Pawlikowski’s ‘Cold War’ Finds Love In a Hopeless Time and Place

What a deft, lean storyteller this Paweł Pawlikowski has become. The five-year gap between his latest film, teasingly titled Cold War and given a berth in compe...

Review: ‘Bullhead’ Director Michaël R. Roskam Makes a Feeble Return with ‘Racer and the Jailbird’

If it can, should a film lay its foundation on intertextuality? The question being: can you believe two people are in love because you are told, not because you...

News

Cinema Guild to Unveil Otar Iosseliani Restorations This Summer

The Criterion Collection Announces Complete Stanley Kubrick 4K Set

NYC Weekend Watch: Masahiro Shinoda, Budd Boetticher in 3D, Carlito’s Way & More

Trailers

U.S. Trailer for Hirokazu Koreeda’s Sheep in the Box Arrives Ahead of July Release

The Debut Trailer: Julianne Moore and Paul Giamatti Lead Jesse Eisenberg’s Third Feature

New Trailer for The Devils Brings Home Ken Russell’s Restored 1971 Classic

Reviews

Rose of Nevada Review: Mark Jenkin’s Stupefying, Time-Slipping Ghost Story

Maddie’s Secret Review: John Early Shows Total Commitment In Feature Debut

Tribeca Review: Alicia Vikander Gives a Restrained, Layered Performance in The Last Day

Features

10 Years of Nitrate Picture Show: A Religious Experience of What Cinema Can Be

New to Streaming: Two Pianos, The Last One for the Road, Pressure, The Wizard of the Kremlin & More

The Best Movies Now Playing in Theaters

Interviews

“There Are Always Fascists to Defeat”: John Waters on the Enduring Legacy of His Films and Never Getting Cancelled

“It Was Our Job to Commit”: John Early on the Roman Empire, Paul Verhoeven, and Maddie’s Secret

“I’ve Got No Idea How That Works”: Mark Jenkin on Rose of Nevada

Podcasts

The B-Sides of Steven Spielberg with Bilge Ebiri

The B-Sides of Goldie Hawn with Jen Johans

The B-Sides of Laurence Fishburne with Mitchell Beaupre

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