The Film Stage - Page 67

Dogma 25 Movement Launches 30 Years After Lars von Trier and Thomas Vinterberg’s Dogme 95

It's now been 30 years since Lars von Trier and Thomas Vinterberg launched the Dogme 95 movement, featuring a set of stripped-down filmmaking rules to put powe...

Cannes Review: Lav Diaz’s Magellan is a Hypnotic, Unambiguous Exploration of the Horrors of Colonization

Ferdinand Magellan was never regarded as a great man of history, and Lav Diaz’s surprisingly conventional––if still hypnotically paced––biopic uses genre struc...

Cannes Review: Christian Petzold’s Miroirs No. 3 is an Enigmatic Drama About Letting Go

Christian Petzold’s fifteenth feature Miroirs No. 3 marks his fourth with Paula Beer, the actor-muse he first directed in 2018’s Transit, a film that shares si...

Cannes Review: Drunken Noodles is a Sultry and Strangely Calming Drama

The laws of time and space are met with frisky ambivalence in Drunken Noodles, Lucio Castro’s anticipated third feature and surely the hottest title in this ye...

Cannes Review: Brand New Landscape is an Embodied Estrangement Drama from a Fresh Perspective

When confronted with the past, do you drive away or turn back to face it? Siblings Ren (Kurosaki Kodai, in his first lead role) and Emi (Mai Kiryu) have be...

Cannes Review: Chie Hayakawa’s Renoir is a Gradually Rewarding Coming-of-Age Story

Just three years since earning a special mention from the Camera d’Or jury for Plan 75, Chie Hayakawa returns to Cannes as one of seven filmmakers debuting in ...

Cannes Review: I Only Rest in the Storm Glides Over Many Ideas Without Fully Reckoning With Their Weight

Late into I Only Rest in the Storm, Sergio (Sérgio Coragem) is asked a question he can’t seem to answer: what do you care about? A Portuguese environmental eng...

Cannes Review: The Mysterious Gaze of the Flamingo is a Deeply Affecting Queer Drama

As reminders that ignorance, bigotry, and hate can literally kill, stories about the AIDS epidemic will always be relevant. The latest, beautiful example arriv...

Cannes Review: A Useful Ghost Tells a Peculiar, Humorous Paranormal Tale

While ghosts and spirits have long been the conduit for cinematic scares and jolts, from The Innocents to Poltergeist to The Ring, a relatively recent wave of ...

First Trailer for Richard Linklater’s Nouvelle Vague Brings Cinema History to Life

After releasing two films last year with Hit Man and the rather-overlooked God Save Texas: Hometown Prison, the ever-prolific Richard Linklater returns in 2025...

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

The Plague Review: Bullying Drama of Paranoia Requries Suspension of Disbelief

No Other Choice Review: Park Chan-wook’s Rage-Filled and Blood-Drenched Thriller

The Testament of Ann Lee Review: Amanda Seyfried Gives Her Finest Performance Yet

Features

Alistair Ryder’s Top 10 Films of 2025

The Best Movies Now Playing in Theaters

Christopher Schobert’s Top 10 Films of 2025

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. 174 – James Stewart (with Mitchell Beaupre)

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

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

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