The Film Stage - Page 19

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...

NYFF Review: The Currents is an Intimate Portrait of Fractured Identity

The Currents begins with a curious, impulsive act. Lina (Isabel Aimé González Sola) is being recognized for her work in Switzerland when, suddenly, she complet...

NYC Weekend Watch: The Unknown, João César Monteiro, Robert Downey Sr. & More

NYC Weekend Watch is our weekly round-up of repertory offerings. Brooklyn Center for Theatre ResearchMy Dylan-scored cut of Tod Browning's The Unknown has o...

Charlie Kaufman and Eva H.D. on the Creative Freedom of Short Films, Unproduced Scripts, and Staying Challenged

From just his scripts alone, Charlie Kaufman is certainly one of the most distinctive voices in American cinema, be it Being John Malkovich or Adaptation. Ever...

New to Streaming: Mr. Scorsese, The Perfect Neighbor, and My Big Bold Beautiful Journey

Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past r...

Exclusive Trailer for Towards the Light, Premiering at DocLisboa, Presents a Personal Diary of Exile

A few years ago at DocLisboa we praised I Saw, in which exiled Russian filmmaker Vadim Kostrov revisits an innocent day. The director is returning to the festi...

The Mastermind Review: Kelly Reichardt Crafts a Low-Key, Bressonian Heist Drama

Note: This review was originally published as part of our 2025 Venice coverage. The Mastermind opens in theaters on October 17. For the second time in t...

Frankenstein Review: Guillermo del Toro Crafts an Intricate World and Rhythmically Off-Kilter Adaptation

Note: This review was originally published as part of our 2025 Venice coverage. Frankenstein opens in theaters on October 17 and arrives on Netflix on November...

Blue Moon Review: A Melancholy Song for Ethan Hawke and Richard Linklater

Note: This review was originally published as part of our 2025 Berlinale coverage. Blue Moon opens in theaters on October 17. There was Dewey Finn, Ned ...

News

The Criterion Channel’s January Lineup Features Paul Thomas Anderson, Kleber Mendoça Filho, Terence Stamp & More

The Criterion Collection’s March 2026 Lineup Features Killers of the Flower Moon on 4K

Sundance Film Festival Unveils 2026 Lineup

Trailers

Tom Cruise Wants to Save Humanity in First Teaser for Alejandro G. Iñárritu’s Digger

Pedro Almodóvar Returns to Spain in First Trailer for Bitter Christmas

Jessica Chastain Begins a Dangerous Affair in First Trailer for Michel Franco’s Dreams

Reviews

Is This Thing On? Review: Bradley Cooper’s Gentle Film About Marital Strife

Marty Supreme Review: Timothée Chalamet Reaches a New Pinnacle in Josh Safdie’s Propulsive Drama

Cover-Up Review: The Most Important American Documentary of the Year

Features

New to Streaming: One Battle After Another, It Was Just an Accident, Song to Song, The Running Man & More

NYC Weekend Watch: Twin Peaks, Breezy, Gus Van Sant, Ken Jacobs & More

The 100 Most-Anticipated Films of 2026: Part Two

Interviews

“The Story is Told by Faces”: Darius Khondji on the Cinematography of Marty Supreme and His Prolific Year

“It’s a Mission: Impossible”: Bi Gan on the Long Journey and Long Takes of Resurrection

“We’re Terrible Esthetes”: Dennis Cooper and Zac Farley on Room Temperature, Home Haunts, and the Artist’s Life

Podcasts

The B-Side Ep. 173 – James L. Brooks (with Adam Drosin)

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

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

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