The Film Stage

Watch a 2.5-Hour Conversation with Paul Thomas Anderson, Ryan Coogler, Josh Safdie, Guillermo del Toro, and Chloé Zhao

A welcome annual tradition, the Directors Guild of America gathered their nominees for Outstanding Directorial Achievement in Theatrical Feature Film—Paul Thom...

Berlinale Review: Prosecution is a Propulsive Investigation Into Far-Right Violence

Last week, the jury president of the Berlin Film Festival claimed that this year’s edition would provide an “opposite” to politics. If such a thing exists,...

Frederick Wiseman Dies at 96

Non-fiction cinema is before and after Frederick Wiseman, an indisputable notion that loses no import with the news, made official by his own Zipporah Films, t...

Berlinale Review: An Extraordinary Isabelle Huppert Dwarfs Everyone Else In Ulrike Ottinger’s Campy The Blood Countess

When I think about a quintessential Isabelle Huppert film, I like to defer to a largely forgotten feature that will soon turn ten: Serge Bozon’s 2017 Mrs. Hyde...

Sean Baker, Miguel Gomes, Véréna Paravel, Laura Citarella, and Eduardo Williams Plot New Films

Any film that earns you, personally, the greatest number of Oscars since Walt Disney is a tough act to follow, so one must admire Sean Baker's lack of pretensi...

Berlinale Review: Tristan Forever Highlights a Jaded Doctor’s Search for Purpose

There's a melancholy to Tobias Nölle and Loran Bonnardot's Tristan Forever that is comforting. A lingering, existential question hangs over everything: where d...

Berlinale Review: Mouse Offers a Tender Companion After Loss

It’s the last day of junior high for Minnie (Katherine Mallen Kupferer) and her best friend Callie (Chloe Coleman); the veil of adulthood has never felt as thi...

Berlinale Review: We Are All Strangers Channels Edward Yang to Kitschy But Compelling Ends

The new film from Anthony Chen takes a minute to find its rhythm. For the first hour or so of its admittedly substantial runtime, I couldn’t help but wonder if...

Berlinale Review: Alain Gomis’ Dao is a Riveting Family Saga

To belong to the diaspora is to inhabit a paradox: a state of in-betweenness, neither fully inside or outside one’s home and adoptive countries. Films tryi...

Berlinale Review: Rosebush Pruning is a Maximalist, Muddled Attempt at Cinematic Transgression

Moulding cruel or nihilistic characters into darkly attractive protagonists requires a deceptively delicate touch. We’ve grown so used to seeing it done effort...

News

Olivier Assayas Plans Sequels to Something in the Air and Suspended Time

Christian Petzold Wants Nina Hoss and Paula Beer to Star in His Next Film

First Look at Martin Scorsese’s What Happens at Night Starring Leonardo DiCaprio and Jennifer Lawrence

Trailers

Maurice Pialat’s Magnum Opus Gets Restored in New Trailer for La maison des bois

Wild Horse Nine Trailer: John Malkovich and Sam Rockwell Lead Martin McDonagh’s Dark Comedy

Mad Bills to Pay Trailer: Joel Alfonso Vargas’ Sundance, Berlinale, and ND/NF Selection Opens in April

Reviews

SXSW Review: Paul Rudd and Nick Jonas Strike a Chord in John Carney’s Power Ballad

Late Shift Review: A Highly Intense, Single-Minded Procedural

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

Features

New to Streaming: Magellan, All That’s Left of You, Roofman & More

NYC Weekend Watch: Godard and Lewis, Hou Hsiao-hsien, The Man Who Shot Liberty Valance & More

The Best Movies Now Playing in Theaters

Interviews

“The Movie Is More Intelligent Than I”: Christian Petzold on Miroirs No. 3

“Every Single Day Was a Nightmare”: Annemarie Jacir on the Past and Present of Palestine 36

“I Want to Capture Miracles”: Alexandre Koberidze on Dry Leaf and Shooting on a Sony Ericsson

Podcasts

Gabe Klinger on Finishing Movies, Navigating Festivals, and Isabel

The Academy Award Categories That No Longer Exist

Remembering Tom Noonan with Keith Uhlich

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