The Film Stage - Page 1017

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...

Cannes Review: Asghar Farhadi’s ‘Everybody Knows’ Leaves a Sour Note on Opening Night

Disregarding the vomitus of clichés with which Asghar Farhadi introduces the rural Spanish milieu of Everybody Knows, for the first half-hour or so, the Iranian...

Review: ‘Measure of a Man’ is an All-Too-Familiar Coming-of-Age Dramedy

The coming of age dramedy is a crowded genre with many seminal works established in the 70s and 80s. It's tough to therefore see any entries without comparing t...

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

Will Poulter Navigates an American Crisis In First Trailer for Union County

Exclusive Trailer for Japan Cuts 2026 Highlights the Best of New Japanese Cinema

Sophie Thatcher and Charles Melton Traverse Giallo Underworld In Trailer for Nicolas Winding Refn’s Her Private Hell

Reviews

Camp Review: An Absorbing, Dreamlike Journey of Finding Yourself

Jackass: Best and Last Review: Knoxville & Co. Return for One Last Encore

Romería Review: A Personal Tale of Intergenerational Dissonance

Features

New to Streaming: The Prisoner, Silent Friend, Obsession, Fiume o morte! & More

NYC Weekend Watch: 70mm Conspiracies, Immigrants, Spectres, Sherman’s March & More

Posterized July 2026: The Samurai and the Prisoner, The Odyssey, Night Nurse & More

Interviews

Ross McElwee on Remake and the Painful, Profound Process of Making a Testament to His Son’s Life

Tamra Davis on Billy Madison, Half Baked, Watching Fellini and Coppola on Set, Bonding with Britney Spears, and The Best Summer

“There’s No Incentive for a Filmmaker to Retire”: Alex Cox on Returning With Dead Souls

Podcasts

The B-Sides of Julia Roberts with Joe Reid

The B-Sides of Steven Spielberg with Bilge Ebiri

The B-Sides of Goldie Hawn with Jen Johans

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