The Film Stage - Page 1019

IndieLisboa Review: Jean-Paul Civeyrac’s ‘A Paris Education’ is a Nostalgic, Anachronistic Dive Into a New Wave World

Halfway through writer-director Jean-Paul Civeyrac’s cinephile coming-of-age story A Paris Education, a girl confronts a budding filmmaker: “You seem out of tou...

Cannes Review: At Its Best, Lars von Trier’s ‘The House That Jack Built’ Makes for Irresistible, Barefaced Insanity

The Wikipedia entry for Narcissistic personality disorder (NPD) describes the condition as "a long-term pattern of abnormal behavior characterized by exaggerate...

Cannes Review: Jafar Panahi’s ‘3 Faces’ Is a Loose, Empathetic, Ultimately Minor Work

3 Faces is the fourth film Jafar Panahi has made in defiance of a 20-year filmmaking ban the Iranian government issued against him in 2010. The first three were...

Review: David Leitch and Ryan Reynolds Enliven a By-the-Numbers ‘Deadpool 2’

The biggest critical gripe coming out of the first Deadpool was that its attempts to subvert the superhero genre were squandered by being a superhero film. What...

Cannes Review: Lukas Dhont’s ‘Girl’ is a Stellar Transgender Drama

In the same way that keeping your top five movies on-hand can save a not-insignificant amount of time and brainpower over the course of one's life, it’s just as...

Spike Lee-Helmed, Jordan Peele-Produced ‘BlacKkKlansman’ Gets First Trailer Ahead of Cannes Premiere

A Spike Lee movie called Blackklansman likely goes one of two ways, the question at hand being: are we getting a film by the director Do the Right Thing, Mi...

Matt Dillon Bludgeons and Tortures His Way Through Trailer for Lars von Trier’s ‘The House That Jack Built’

In the years since it was announced, actual materials surrounding Lars von Trier's The House That Jack Built have been scant -- an image here, the briefest ...

Cannes Review: Gaspar Noé’s ‘Climax’ is a Perverse and Intoxicating Celebration of Dance as an Art Form

Gaspar Noé has probably never been likened to Lazarus before – or any other saint, for that matter – but he’s fully earned himself the comparison with Climax, w...

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...

News

The Criterion Collection’s October Lineup Features The Silence of the Lambs and Guillermo del Toro’s Frankenstein on 4K, Jerzy Skolimowski, and Samuel Fuller

Locarno Film Festival Unveils 2026 Lineup

Eleanor Coppola’s Documentary on the Making of Sofia Coppola’s Marie Antoinette Is Coming Soon

Trailers

Filipiñana Trailer: Rafael Manuel’s Jia Zhangke-Backed Sundance Winner Opens This August

Domhnall Gleeson Encounters a Strange Land In First Trailer for The Incomer

Tony Gilroy Returns in First Trailer for Behemoth!

Reviews

The Odyssey Review: Christopher Nolan’s Journey of Perpetual, Enervating Awe

The Kidnapping of Arabella Review: Offbeat Italian Road Trip Comedy

Night Nurse Review: A Perverse, Seductive Thriller

Features

NYC Weekend Watch: The Hole, Electronica, Gakuryu Ishii, Nicholas Ray & More

The Best Movies Now Playing in Theaters

New to Streaming: The Furious, City Wide Fever, Amores Perros, Camp & More

Interviews

Tsai Ming-liang on the Personal Inspiration of The Hole, Constant Evolution, and His Next Films

“How Do You Make a Contemporary Erotic Thriller”: Georgia Bernstein on Night Nurse and Catherine Breillat

David Wain on the Hard Work of Making Dumb Jokes

Podcasts

Yasmina Tawil on Progamming Hou Hsiao-hsien, David Fincher, Tom Tykwer & More for BAM’s Electronica Series

The B-Sides of Julia Roberts with Joe Reid

The B-Sides of Steven Spielberg with Bilge Ebiri

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