The Film Stage - Page 332

TIFF Review: Anna Kendrick’s Directorial Debut Woman of the Hour is a Startling Portrait of a Serial Killer

The logline of a serial killer and rapist taking part in a television dating game show sounds like a high-concept pitch so fabricated it couldn’t possibly be f...

TIFF Review: The Peasants is a Visually Breathtaking Misfire from the Directors of Loving Vincent

After 2017’s Loving Vincent and Toronto International Film Festival world premiere The Peasants, it is clear that DK Welchman and Hugh Welchman have developed ...

TIFF Review: Days of Happiness Brings a Crescendo of Catharsis

These should be joyful times for Emma (Sophie Desmarais). She's thought of as the top of her class and is about to finish a year-long residency conducting for ...

Yorgos Lanthimos and Ryûsuke Hamaguchi Take Top Venice Film Festival Prizes

With Venice Film Festival wrapping up after quite an epic year, Damien Chazelle's jury handed out their awards, giving the top prize to Yorgos Lanthimos' Poor ...

Venice Review: Society of the Snow is J.A. Bayona’s Most Humanist Film to Date

In 1972, Uruguayan Air Force Flight 571 crashed deep in the Andes, en route to Chile. The 45 passengers included the Old Christian Rugby team, friends, and fam...

TIFF Review: Dicks: The Musical is a Satire of Pure Provocation

When God (Bowen Yang) sees two virile young men plowing women, selling gears, and telling everyone they know that they do both of those things better than anyo...

TIFF Review: Lesbian Cheerleader Drama Backspot is All Glitz, No Substance

If you’re looking for recent movies about the uniquely harrowing experience of female perfectionism, there’s the Taylor Swift documentary Miss Americana, Laure...

TIFF Review: Raoul Peck’s Silver Dollar Road is an Intimate Family Portrait That Extrapolates America’s History of Discrimination

If Raoul Peck’s previous two films––the sweeping essay documentary I Am Not Your Negro and the painterly authorial portrait The Young Karl Marx––set aims to na...

TIFF Review: Lost Ladies Brings Infectious Humor to a Believably Absurd Scenario

When Phool (Nitanshi Goel) almost trips while rushing to the train station to accompany husband Deepak (Sparsh Shrivastava) to her new home because of the veil...

TIFF Review: Hayao Miyazaki’s The Boy and the Heron is a Wistful Tale of Spectacular Animation

I was thinking about my motherI was thinking about what’s mineI was living my life like a HollywoodBut I was dying, dying on the vine –– John Cale It was...

News

James Gray’s Paper Tiger Sets North American Premiere as Opening Night of the 64th New York Film Festival

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

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

The B-Sides of Christopher Nolan with Blake Howard

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

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