The Film Stage - Page 815

Review: Matías Piñeiro’s Isabella is an Unassumingly Sumptuous Look at Self-Doubt

Women from Shakespeare’s oeuvre find themselves reincarnated in modern-day South America through the recent works of Argentine director Matías Piñeiro (Hermia ...

Berlin Review: The Metamorphosis of Birds is a Beguiling, Engaging Portrait of Family History

What if you never knew your family, and they remained in photographs on a mantelpiece, their lives to be dreamed of, destinies to be imagined? That’s the premi...

Berlin Review: The American Sector Explores the Symbolic Resonance of the Berlin Wall

Courtney Stephens and Pacho Velez’s documentary The American Sector announces its intentions from the very beginning, starting with its first three juxtaposed ...

Berlin Review: Red Moon Tide is One-Half of a Beautiful Meditation on Trauma and Loss

Framed as a series of tableaux, in which the residents of a seaside town on the Galician coast appear to be stuck in time–unmoving against the changing scenery...

Berlin Review: DAU. Natasha is a Provocative Introduction to One of the Most Ambitious Art Projects of All-Time

It is no use of hyperbole to suggest that DAU. Natasha already looks like one of the most provocative art films ever made. The first strictly theatrical featur...

The High Note Trailer: Dakota Johnson and Tracee Ellis Ross Navigate the Music Industry

Following last year's Late Night, Nisha Ganatra is returning quickly with her follow-up. The Hight Note, arriving this May from Focus Features, stars Dakota Jo...

New to Streaming: Uncut Gems, Anna Karina and Jean-Luc Godard, Color Out of Space & More

With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles ...

Benh Zeitlin on Myths, Grassroots Casting, and Why Wendy is His Dream Project

Beasts of the Southern Wild was the indie darling of 2012 having racked up prestigious festival wins en route to four Oscar nominations. Despite being credited...

The Invisible Man Review: Elisabeth Moss Commands an Empathetic Horror Film That Reaches Maniacal Heights

The innate horrors of the unseen are given fresh life in The Invisible Man, a reinvention of the H.G. Wells’ novel that was first brilliantly adapted by James ...

Berlin Review: Jóhann Jóhannsson’s Final Work Last and First Men is an Extraordinary Cinematic Odyssey

If any film composer of the last decade defined the period best, it might’ve been Jóhann Jóhannsson, whose synthy, epic tones captured the turbulent, globalize...

News

Cinema Guild to Unveil Otar Iosseliani Restorations This Summer

The Criterion Collection Announces Complete Stanley Kubrick 4K Set

NYC Weekend Watch: Masahiro Shinoda, Budd Boetticher in 3D, Carlito’s Way & More

Trailers

Will Poulter Navigates an American Crisis In First Trailer for Union County

Exclusive Trailer for Japan Cuts 2026 Highlights the Best of New Japanese Cinema

Sophie Thatcher and Charles Melton Traverse Giallo Underworld In Trailer for Nicolas Winding Refn’s Her Private Hell

Reviews

Camp Review: An Absorbing, Dreamlike Journey of Finding Yourself

Jackass: Best and Last Review: Knoxville & Co. Return for One Last Encore

Romería Review: A Personal Tale of Intergenerational Dissonance

Features

New to Streaming: The Prisoner, Silent Friend, Obsession, Fiume o morte! & More

NYC Weekend Watch: 70mm Conspiracies, Immigrants, Spectres, Sherman’s March & More

Posterized July 2026: The Samurai and the Prisoner, The Odyssey, Night Nurse & More

Interviews

Ross McElwee on Remake and the Painful, Profound Process of Making a Testament to His Son’s Life

Tamra Davis on Billy Madison, Half Baked, Watching Fellini and Coppola on Set, Bonding with Britney Spears, and The Best Summer

“There’s No Incentive for a Filmmaker to Retire”: Alex Cox on Returning With Dead Souls

Podcasts

The B-Sides of Julia Roberts with Joe Reid

The B-Sides of Steven Spielberg with Bilge Ebiri

The B-Sides of Goldie Hawn with Jen Johans

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