The Film Stage - Page 972

Exclusive Trailer for Gastón Solnicki’s ‘Introduzione all’oscuro’ Pays Tribute to a Late Cineaste

With an eye for indelible visuals like few other directors working today, Argentinian helmer Gastón Solnicki is returning to the Venice International Film F...

Venice Review: ‘Dragged Across Concrete’ Ushers in a Tamer S. Craig Zahler

Anyone transfixed by the hyper-stylized meathead triumph of blood and violence of Brawl in Cell 99 should be warned. Dragged Across Concrete, S. Craig Zahler’s ...

Venice Review: ‘At Eternity’s Gate’ is a Transfixing and Visceral Vincent Van Gogh Biopic

When Vincent Van Gogh stares at the flat southern France landscape in Julian Schnabel’s contemplative At Eternity’s Gate, what does he see? Cemeteries of dead s...

Venice Review: Mike Leigh’s ‘Peterloo’ is a Dense, Devastating Historical Drama

With all the toing and froing over Netflix and Lars von Trier in the lead up to this year’s Cannes Film Festival, Thierry Fremaux's remarkable decision to rejec...

Review: ‘Kusama: Infinity’ Conventionally Captures a Groundbreaking Artist

When making a documentary chronicling the life and work of an iconic artist it is necessary and downright vital to interrogate why their art struck a chord in t...

A Love Triangle Forms in U.S. Trailer for Lee Chang-dong’s ‘Burning’

It's not usual to wait eight years in between projects from a director, but when your films are as accomplished as those of Poetry and Secret Sunshine helme...

Venice Review: ‘The Mountain’ Offers Another Exercise in Bleakness from Rick Alverson

There comes a telling moment near the beginning of The Mountain when Jeff Goldblum's doctor turns to his newfound apprentice to explain the workings of a camera...

Venice Review: ‘The Sisters Brothers’ is a Melancholic, Hollow Western

A mainstay in French for almost 40 years, Jacques Audiard frequently chronicles criminals and convicts (or ex-criminals/ex-convicts) trying to either navigate a...

Venice Review: ‘Why Are We Creative?’ Poses a Question to Artistic Geniuses

The question that Hermann Vaske has asked for over two decades is a large one. Why Are We Creative? There's no blanket answer — no right or wrong notion of the ...

Venice Review: ‘Suspiria’ is a Lush, Superflous Remake from Luca Guadagnino

Luca Guadagnino does a lot of things very, very well. Indeed, it is hard to think of a working director more adept at capturing the tactile delights of stuff li...

News

Kenneth Lonergan Returns with Tomorrow Is a Drag; Aubrey Plaza, Adam Driver, Matthew Broderick, and Vanessa Kirby Starring

NYC Weekend Watch: Korean Cinema’s Celluloid Fever, Southland Tales, Gamer & More

The Criterion Channel’s June Lineup Features Odysseys, Weddings, James Bond, and Brian Eno

Trailers

Exclusive Trailer and Poster for Lisandro Alonso’s Double Freedom Marks a Powerful Reunion

Isabelle Huppert and Delphine Seyrig Inhabit an Artist In Exclusive Trailer and Poster for Liliane de Kermadec’s Aloïse

The Rivals of Amziah King Trailer: Matthew McConaughey Leads Andrew Patterson’s Crime Thriller

Reviews

Cannes Review: The Meltdown Is an Elusive Chilean Chiller

Cannes Review: Asghar Farhadi’s Parallel Tales Is an Ambitious If Tedious Take on Kieślowski

Cannes Review: Gentle Monster Is a Masterfully Performed Drama In the Aftermath of Betrayal

Features

New to Streaming: Yes, The Love That Remains, The Christophers, Project Hail Mary & More

The Best Movies Now Playing in Theaters

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

Interviews

“Making Movies Should Be a Pleasure”: Olivier Assayas on The Wizard of the Kremlin

“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

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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