The Film Stage - Page 34

Riefenstahl Review: A Portrait of the Artist as a Nazi Collaborator

It is fascinating what the human mind will allow. Riefenstahl, a documentary directed by Andres Veiel about the life of Leni Riefenstahl, explores the rati...

Trailer for El Pampero Cine’s Venice and NYFF Premiere Pin de Fartie Turns Samuel Beckett Upside-Down

Fall-festival season invariably crowds-out some of its finer offerings. For all the sturm und drang surrounding a studio's middling and formulaic awards hopefu...

Trailer for Mike Figgis’ MEGADOC Goes Behind the Tumultuous Creation of Francis Ford Coppola’s Megalopolis

Few recent films scratch an itch like MEGADOC. Whatever the cinematic value of Mike Figgis' documentary––and accounting for cheap-looking title cards with obvi...

Venice Review: François Ozon’s The Stranger Finally Gives Albert Camus’ Novel Its Cinematic Due

Nobel laureate Albert Camus is one of the most consequential thinkers and writers in the French language, having created absurdist characters and worlds th...

Pynchon, Paul Thomas Anderson, and Postmodernism on Film

Paul Thomas Anderson is taking another strike at Thomas Pynchon in One Battle After Another, a modern-day reworking of the reclusive author's 1990 novel Vinela...

10 Must-See Short Films at TIFF 2025

Comprising 48 titles from 28 countries, this year’s Short Cuts program at the Toronto International Film Festival doesn’t represent any sort of significant cha...

Venice Review: The Wizard of Kremlin Proves an Irrelevant, Cynical Approach to Vladimir Putin’s Russian

In April 2022, two months after Russia’s invasion of Ukraine, Italian author and political writer Giuliano da Empoli published a fictionalized account of Vladi...

Venice Review: Mark Jenkin’s Rose of Nevada is a Stupefying, Time-Slipping Ghost Story

The films of Mark Jenkin ooze a hypnotic, seasick sensibility; to watch them is to be lulled by their restless jumps through time and space, their ability ...

Caught Stealing Review: Darren Aronofsky Blends a Zany Caper with His Customary Brutality

Hank Thompson (Austin Butler) was born and bred San Francisco Giants baseball. Named after one of the most significant Giants in major league history––back whe...

Telluride Review: This is Not a Drill Offers a Sharp Highlight of Climate Activists Who Still Fight

About an hour into This is Not a Drill, the new documentary from director Oren Jacoby, comes a moment that is stark and unsettling. Sitting next to her daughte...

News

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

Sundance Film Festival Unveils 2026 Lineup

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

Trailers

A Major Restoration Arrives in Exclusive Trailer for Erich von Stroheim’s Queen Kelly

Exclusive Trailer for Bertrand Bonello-Scored Europe’s New Faces Covers a Troubled Continent

The Drama Trailer: Robert Pattinson and Zendaya’s Relationship Gets Rocky

Reviews

Ella McCay Review: A Living Legend’s Final Word on Hope and Forgiveness

Goodbye June Review: Kate Winslet’s Directing Debut is a Well-Meaning Misfire

Resurrection Review: A Triumph of Sheer Audacity and Exceptional Craft

Features

The Best Scores & Soundtracks of 2025

The Film Stage’s Top 50 Films of 2025

New to Streaming: The Mastermind, Afternoons of Solitude, Wake Up Dead Man, Die My Love, and More

Interviews

“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

A Magical Life: Train Dreams Cinematographer Adolpho Veloso on Capturing a Film of Memories

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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