The Film Stage - Page 36

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...

Venice Review: Ghost Elephants is Werner Herzog’s Yearning, Materialized

What opens Werner Herzog’s Ghost Elephants, even before we hear the German filmmaker’s distinctive cadence, is the National Geographic logo. While production c...

Venice Review: Strange River Announces Jaume Claret Muxart as a Major Talent

Traveling in a foreign land can be disorienting. Established routines lose their meaning. Unfamiliar sights, sounds, smells may trigger old memories or bra...

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

The Odyssey Trailer Teases Christopher Nolan’s Mythic Epic

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

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

Christopher Schobert’s Top 10 Films of 2025

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

Interviews

The Testament of Ann Lee Cinematographer William Rexer on Capturing the Dance and Believing in Mona Fastvold

“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

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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