The Film Stage - Page 981

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...

Venice Review: ‘The Ballad of Buster Scruggs’ Isn’t Classic Coen Brothers, Still a Fine Western Anthology

Eyebrows were raised when the venerable contributors of Sight & Sound named Twin Peaks: The Return the second-best "film" of 2017 despite the fact that only...

Venice Review: ‘Tumbbad’ Brings Myth into Reality

As the Hindu folktale at the start of Rahi Anil Barve and Adesh Prasad's Tumbbad states: while the Goddess of Plenty birthed 160 million deities from her womb (...

Venice Review: ‘A Star is Born’ is a Charming Directorial Debut for Bradley Cooper

Surprise may not be the first reaction you’d expect to have when watching the umpteenth remake of a romance as old as Hollywood itself, but the adjective proves...

Venice Review: ‘Roma’ is a Richly Detailed, Immersive Experience

There was a surprising moment about halfway through Alfonso Cuarón’s Roma–during one of its multitude of breathtaking cinematic set pieces–when I began to wonde...

News

Exclusive: Altered Innocence Acquires Restoration of Srđan Karanović’s Virgina for Fall Release

Japan Cuts Announces 2026 Slate Featuring Hirokazu Kore-eda, Gakuryu Ishii, Yoji Yamada & More

Alice Rohrwacher to Direct The Baron in the Trees; Next Film to Be Primarily Silent

Trailers

Cemre Paksoy’s Hands Are Tied In Trailer for Georgia Bernstein’s Sinister Sundance Favorite Night Nurse

Marcello Mastroianni Yearns In Trailer for 4K Restoration of Luchino Visconti’s White Nights

Exclusive Trailer for Greg Vrotsos’ Feature Debut Situations Follows a Journey of Love and Ambition in Los Angeles

Reviews

The Death of Robin Hood Review: A Portrait of the Outlaw as a Bald-Faced Lie

Tribeca Review: Here I’m Alive Is a Raw, Intimate Look at Messy New York Lives

I Am Frankelda Review: Mexico’s First Stop-Motion Feature Speaks Truth to Power

Features

New to Streaming: Blue Film, I Am Frankelda, It’s Dorothy! & More

The Best Movies Now Playing in Theaters

NYC Weekend Watch: Douglas Sirk in 3D, The Organizer, Body Double & More

Interviews

“The Hard Work Is In the Screenwriting”: John Sayles on Resourceful Filmmaking, James Cameron, and His TIFF Retrospective

The Currents Director Milagros Mumenthaler on Sensory Filmmaking, Motherhood, and Capturing an Internal State

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

Podcasts

The B-Sides of Goldie Hawn with Jen Johans

The B-Sides of Laurence Fishburne with Mitchell Beaupre

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

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