The Film Stage - Page 14

Aftersun Director Charlotte Wells to Helm Debbie Harry Biopic

After directing not only the best debut of 2022, but the best film of that year, with the emotionally piercing, structurally captivating Aftersun, we've long a...

Cristian Mungiu on Fjörd, Family, Sebastian Stan, and the State of the World

For all the glories that Romanian cinema has enjoyed in the last quarter-century, 2026 has the potential to outshine them all. If one man will be responsible f...

Kelly Reichardt on The Mastermind: “Question Why You Want the Things You Want”

The characters in Kelly Reichardt’s films drift and wander. Her leads often work their way through the world, struggling against bad impulses and worse decisio...

Adam Driver Reveals Steven Sodebergh’s Cancelled Star Wars Movie

The stories of Star Wars' creation are nearly (sometimes more) compelling than the films themselves––personal ambition, institutional politics, and empires (th...

Restorations of Olivier Assayas’ Paris Awakens and A New Life Making North American Debut at BAM on November 4

Restorations and retrospectives are plentiful enough that it's hard to believe Oliver Assayas' early career bears no imprint on American film culture. While ce...

Mistress Dispeller Review: Subdued Doc Explores Saving Marriages in China

For as long as there have been relationships, there have also been affairs. It is perhaps one of the most durable narrative devices, so universal that just abo...

Recommended New Books on Filmmaking: The Mighty Clint, Abel Ferrara, Reapprasing Ed Wood, Jonathan Demme & More

The world has long needed a memoir from Abel Ferrara, and now we’ve got one, along with smart studies of the lives and careers of Clint Eastwood, Jonathan Demm...

NYFF Review: Late Fame Is a Towering Portrait of the Artist as a Newly Famous Man

“Klara remembered who she was. She pulled away from the window and she was a sculptor, although she didn't always believe it, an artist––she believed them some...

NYFF Review: The Love That Remains is a Cathartic, Impressionistic Portrait of Love and Loss

Hlynur Pálmason’s fourth feature marks a soft, Malickian left turn for the man behind the icy-bleak dramas Winter Brothers, A White, White Day, and Godland...

NYFF Review: Below the Clouds is a Delicate Look at Life Under Mount Vesuvius

With Mount Vesuvius looming over southwestern Italy’s idyllic region of Naples, both in history and imagery, one might reasonably think Gianfranco Rosi’s B...

News

Exclusive Palestine 36 Poster and Clip: Palestine’s Oscar Entry Tells an Epic Tale of Resistance

Netflix Buys Warner Bros. for $82 Billion

John Waters’ Top 10 Films of 2025 Include Eddington, Final Destination Bloodlines, Sirāt & More

Trailers

Jean-Pierre Léaud Goes West In Exclusive Trailer for Luc Moullet’s A Girl Is a Gun

My Father’s Shadow Trailer: U.K.’s Oscar Entry and Cannes Winner Opens This February

The President’s Cake Trailer: Iraq’s Oscar Entry and Cannes Winner Opens This February

Reviews

The Chronology of Water Review: Kristen Stewart’s Elemental Calling Card for Directorial Greatness

La Grazia Review: Paolo Sorrentino Struggles to Match Toni Servillo’s Talents

WTO/99 Review: A Stark Reminder of Our American Police State

Features

Posterized December 2025: Resurrection, No Other Choice, The Plague & More

New to Streaming: Jay Kelly, Reflection in a Dead Diamond, Stranger Eyes, The Family McMullen & More

NYC Weekend Watch: Kōzaburō Yoshimura, Safe & More

Interviews

Reflection in a Dead Diamond Directors on James Bond, Satoshi Kon, and Crafting a Cinematic Orgasm

Edward Burns on The Family McMullen, His Underseen Films, and Getting Tom Petty to Score His Second Movie

Sinners Cinematographer Autumn Durald Arkapaw on Pulling Off the Film’s Most Difficult Shots and Christopher Nolan’s Advice

Podcasts

The B-Side Ep. 172 – Daniel Craig (with Gavin Mevius)

The B-Side Ep. 171 – Richard Linklater (with Ryland Aldrich)

Emulsion Ep. 18 – Carlo Chatrian on the Tokyo International Film Festival and Future of Cinema Culture

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