The Film Stage - Page 911

ND/NF Review: ‘Honeyland’ is a Vérité Documentary of an Idyllic Existence Upturned

The issue of matching approach to subject is always a central concern in documentary filmmaking, even moreso than narrative films. Due to the truth claims invol...

ND/NF Review: ‘Belonging’ is a Bold Grappling with Love, Death, and Memory

The nature of promise displayed by a new filmmaker can sometimes be an inherently risky proposition. For every Orson Welles or Jacques Rivette, who burst out of...

ND/NF Review: ‘Sauvage/Wild’ is a Visceral, Contrived Look at a Man Pushed to Extremes

Sauvage/Wild opens with a gay hustler in a doctor’s office. As he discusses his ill health—his cough, his odd stomach pains—the camera, like the examiner’s hand...

The Film Stage Show Ep. 339 – Us

We discuss the newest film from writer/director Jordan Peele....

Brie Larson is a Dreamer in First Trailer for Her Directorial Debut ‘Unicorn Store’

Premiering at the Toronto International Film Festival back in 2017, Netflix has smartly waited to release Brie Larson's directorial debut Unicorn Store in a...

Hong Sangsoo Takes a Coffee Break in U.S. Trailer for ‘Grass’

On the heels of Hotel by the River, released earlier this year in the U.S., Grass marks Hong Sangsoo’s 22nd feature and his fifth collaboration with actress...

SXSW Review: ‘Go Back to China’ Mixes Heart, Flawed Characters, and Sitcom Tropes

A funny, light, and heartfelt situation comedy, Go Back to China finds a fashion school graduate Sasha (Anna Akana) in her father’s toy factory after she’s cut ...

SXSW Review: ‘Come As You Are’ is a Wheelchair-Bound Comedy with Charm

A charming remake of the Belgian comedy Hasta La Vista, inspired by actual events, Richard Wong’s Come As You Are is the story of three men with various disabil...

SXSW Review: ‘Porno’ Concocts a Great Concept with Little Restraint

Filmmakers and cinephiles undoubtedly remain haunted by certain urban legends in film. When my mother told me about Snuff, an alleged South American snuff film ...

SXSW Review: ‘Tito’ is an Ugly Punk Rock Study of Victimhood

A brief and ugly affair, Tito is a weird for the sake of weird midnight cult film that overstays itself welcome by design: the patriarchy and its byproduct of o...

News

Richard Kelly Releasing “Gigantic” Debut Novel This Year

Radu Jude Will Shoot New Feature Love Diptych Next Month

New Restoration of Ken Russell’s The Devils Leads Cannes Classics 2026 Lineup

Trailers

Nostalgia for the Future Exclusive Trailer: Charlotte Rampling Travels Through Chris Marker’s World in Cannes Premiere

Exclusive Trailer and Poster for Bruno Dumont’s Red Rocks Captures Growing Up on the French Riviera

Maddie’s Secret Trailer: John Early Crafts a Sincere Satire in Directorial Debut

Reviews

Silent Friend Review: Tony Leung Finds a Flora Connection

The Misconceived Review: Incisive, Inventive Look at Contemporary Life

Blue Film Review: Masterful Two-Hander Confronts Flaws with Empathy

Features

NYC Weekend Watch: Kazuhiko Hasegawa, Pynchonesque, Max and Richard Fleischer, the Pusher Trilogy & More

New to Streaming: The Drama, Send Help, Exit 8, and André Is an Idiot

Our 20-Most Anticipated 2026 Cannes Film Festival Premieres

Interviews

“Everything Is By Chance”: Tony Leung on Silent Friend, Léa Seydoux, and Ryûsuke Hamaguchi

Silent Friend Director Ildikó Enyedi on Capturing a Tree’s Perspective and the State of a Soul

Arnaud Desplechin on Two Pianos, Nervous Breakdowns, and Making Cinema Bigger Than Life

Podcasts

The B-Sides of Eddie Murphy with Nicholas Gray and Alvin Keith

The B-Sides of Chow Yun-Fat

Josh Heaps on the DIY Horror of City Wide Fever

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