The Film Stage - Page 925

‘Phantom Cowboys’ Trailer Turns the Spotlight on Small-Town Teenage Ennui

Premiering at Tribeca Film Festival 2018, Hide Your Smiling Faces director Daniel Patrick Carbone brought his powerful, lyrical new documentary Phantom Cowboy...

The Future of Filmmaking: A Comprehensive Preview of New Directors/New Films 2019

Now in its 48th edition, the NYC-based film festival continues to spotlight directors representing the future of filmmaking and this year's edition is particularly eclectic....

ND/NF Review: ‘Long Way Home’ is a Warm, Patient Study of the Rhythms of Everyday Life

Representing the rhythms of everyday life is, generally speaking, a particular concern of films situated outside the mainstream. Relatively free from the strict...

ND/NF Review: ‘End of the Century’ is a Love Story Drenched in a Nostalgic Magical Realism

Two travelers—Ocho, an aspiring poet from New York, and Javi, a Spanish director from Germany—spend a single day together in Barcelona in the opening act of Luc...

ND/NF Review: ‘Suburban Birds’ is a Harmonious, Intriguing Debut Feature

Something is causing the ground to shift underneath a new Chinese suburb in writer-director Qiu Sheng’s intriguing, adept debut feature. High-rise towers are li...

ND/NF Review: ‘Angelo’ Conveys Prejudices Often Made Invisible Within the Art World

There is no question that white people are and have historically been capable of racism. The value of Angelo resides in its ability to convey those prejudices t...

SXSW Review: ‘The Day Shall Come’ Sets Its Satirical Sights on the War on Terror

Allegedly based upon a hundred true stories, The Day Shall Come, directed by Chris Morris (Four Lions), is another comedy satirizing the theatrics involved in t...

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...

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

Remake Trailer: Ross McElwee Crafts the Most Heartbreaking Documentary of 2026

The Samurai and the Prisoner Trailer: Kiyoshi Kurosawa’s Mystery Epic Arrives This July

Willem Dafoe and Greta Lee Tussle Over Legacy In Trailer for Kent Jones’ Late Fame

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: Blue Heron, I Love Boosters, Tuner, The Sheep Detectives & More

The Best Films of 2026 (So Far)

NYC Weekend Watch: Elaine May, Guy Maddin, Vincente Minnelli, Law of Desire & More

Interviews

“Memory Is Not Something You Can Trust”: Carla Simón on Romería, Family Stories, and Antonioni

“There Are Always Fascists to Defeat”: John Waters on the Enduring Legacy of His Films and Never Getting Cancelled

“It Was Our Job to Commit”: John Early on the Roman Empire, Paul Verhoeven, and Maddie’s Secret

Podcasts

The B-Sides of Steven Spielberg with Bilge Ebiri

The B-Sides of Goldie Hawn with Jen Johans

The B-Sides of Laurence Fishburne with Mitchell Beaupre

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