The Film Stage - Page 1020

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

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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