The Film Stage - Page 349

Kathryn Bigelow Sets Return to Directing with Netflix Thriller Aurora

It's been half a decade since the release of a new Kathryn Bigelow film, but now thankfully it looks like we won't have to wait much longer. Following 2017's D...

The Bubble Review: A Movie About Making a Movie That Barely Feels Like a Movie

Two years into the pandemic, filmmakers will either ignore our current reality entirely, subtly weave it in (such as the latest from Ryusuke Hamaguchi and Joac...

MUBI Unveils April 2022 Lineup

MUBI has unveiled its streaming offerings this April in the U.S. and leading the pack is a special spotlight on Franz Rogowski, star of their recent theatrical...

U.S. Trailer for Céline Sciamma’s Petite Maman Introduces an Enchanting Childhood Tale

Following Portrait of a Lady on Fire, one might have expected Céline Sciamma to up her scale but instead, during the pandemic, she focused on a story with a sm...

Morbius Review: Jared Leto Leads a Passionless, Forgettable Superhero Movie

So here we are: another entry in Sony's not-quite MCU, not-quite Spider-Man multi-villain series following the two oddly (but rightly popular) Venom flicks. Ba...

15 Films to See in April

The spring often brings the most interesting slate of releases––films operating outside the prescribed box of awards season contenders while also attempting to...

Night’s End Review: Haunted Apartment Horror Spirals into Disappointing Camp

About halfway through director Jennifer Reeder and writer Brett Neveu's Night's End, a character explains to Ken Barber (Geno Walker) that the ghost haunting h...

The Matrix Resurrections Writer Aleksandar Hemon on Mythologies, Meta-Narratives, Tolstoy, and TV

The Matrix Resurrections was one of our favorite films of 2021, an auteur franchise film thoroughly unafraid to plunge down the rabbit hole of Lana Wachowski’s...

SXSW Review: Andrea Riseborough is Brilliant in the Harrowing West Texas Drama To Leslie

British-born Andrea Riseborough deserves credit for her ability to seemingly morph into any character like a chameleon. With veteran TV director Michael Morris...

SXSW Review: Raquel 1:1 is a Restrained Thriller That Could Use a Little More Liberation

A good deal more restrained and nuanced than The Craft and Carrie, Raquel 1:1 takes itself perhaps a little too seriously, presenting a rather straightforward ...

News

Léa Seydoux, Lee Kang-sheng, Margaret Qualley, Steven Yeun, Natalie Portman, Armie Hammer & More Set Next Roles

Exclusive: Paul Schrader’s Next Films Involve a Pederast Professor and a Wall Street-Set Erotic Thriller

2024 Gotham Awards Nominations Unveiled

Trailers

Michel Gondry Returns to Animation in First Trailer for Maya, Give Me a Title

Steven Soderbergh Tells a Ghost Story in New Trailer for Presence

Exclusive Trailer for Jōhatsu, a Lithuanian Thriller Exploring a Japanese Phenomenon

Reviews

Juror #2 Review: Courtroom Thriller Represents the Best from Clint Eastwood’s Late Era

The Graduates Review: A Melancholic Look at a Community Bonded by Tragedy

AFI Fest Review: Robert Zemeckis’ Here Plays Like the Anti-Boyhood

Features

Tokyo International Film Festival Artistic Director Ichiyama Shôzô Offers Insight Into a Growing Organization

Posterized November 2024: A Traveler’s Needs, Queer, Flow, Bird & More

New to Streaming: Catherine Breillat, The Substance, Last Things, The Apprentice, and More

Interviews

“Nobody Ever Gave Me Anything”: Alan Rudolph on Robert Altman, Bruce Willis, Kurt Vonnegut, and Resurrecting Breakfast of Champions

Soundtrack to a Coup d’Etat Director Johan Grimonprez on a Jazz-Fueled, Kaleidoscopic Vision of Displaced Blackness

The Making of the Indian Sci-Fi Box-Office Sensation Kalki 2898 AD

Podcasts

The B-Side – Vincent Price (with Gavin Mevius)

The B-Side – Tim Burton (with Maria Lewis)

The Film Stage Show Farewell Episode – Megalopolis

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