The Film Stage

The Film Stage https://validator.w3.org/feed/docs/rss2.html David Fincher’s The Adventures of Cliff Booth Sets Global IMAX Release This November Cannes Review: László Nemes’ Moulin Is a Brooding, Engaging World War II Thriller Cannes Review: I See Buildings Fall Like Lightning Is a Captivating, Polyphonous Ode to Friendship Cannes Review: Nicolas Winding Refn Makes an Underwhelming Return with Her Private Hell Leos Carax’s Annette Follow-Up Lily May B to Shoot Next Year with Jenna Ortega Cannes Review: Sandra Wollner Meets the Moment With Sublime Everytime Couture Trailer: Alice Winocour’s Angelina Jolie-Led Fashion Drama Arrives This June In the Grey Review: A Reflection on the Strange Career of Guy Ritchie New to Streaming: Yes, The Love That Remains, The Christophers, Project Hail Mary & More Cannes Review: Adèle Exarchopoulos Proves a Force of Nature in the Familiar Another Day Cannes Review: Cristian Mungiu’s Fjord Is a Thunderous, Opulent Triumph Cannes Review: Double Freedom Is an Entrancing Homecoming of Sorts for Lisandro Alonso Exclusive Trailer for Bouchra Presents an Acclaimed, Personal Hybrid Animation Cannes Review: In The Beloved, Javier Bardem and Victoria Luengo Elicit Chemistry In Confronting the Past Cannes Review: The Unknown Stumbles on Its Own Gender Binarisms The Criterion Collection’s August Lineup Includes James Gray, Todd Haynes, and More Cannes Review: James Gray’s Paper Tiger Is a Masterfully Measured, Quintessentially Subtle New York Tale Sophie Thatcher and Charles Melton Lead First Teaser for Nicolas Winding Refn’s Her Private Hell Home Page Cannes Review: Ben’Imana Is a Powerful Drama About Lingering Anguish Cannes Review: All of a Sudden Is Ryusuke Hamaguchi’s Most Empathetic, Humanist Film to Date Cannes Review: The Meltdown Is an Elusive Chilean Chiller Kenneth Lonergan Returns with Tomorrow Is a Drag; Aubrey Plaza, Adam Driver, Matthew Broderick, and Vanessa Kirby Starring 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 Cannes Review: Red Rocks Is Bruno Dumont at His Most Uncharacteristically Gentle John Sayles Sets Directing Return With I Passed This Way Starring Amy Madigan and Chris Cooper Isabelle Huppert and Delphine Seyrig Inhabit an Artist In Exclusive Trailer and Poster for Liliane de Kermadec’s Aloïse Cannes Review: Na Hong-Jin’s Hope Is a High-Octane Creature Feature That Falls Flat Cannes Review: With Club Kid, Jordan Firstman Announces Himself as a Director to Watch Exclusive Trailer and Poster for Lisandro Alonso’s Double Freedom Marks a Powerful Reunion 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 Cannes Review: Fatherland Finds Paweł Pawlikowski in a Heady, Aching Register First Look at Pascal Plante’s Red Rooms Follow-Up King’s Daughters Starring Sandrine Bonnaire Jia Zhangke on Criterion Releases, Creating a Perfect Movie Theater, and His Filmmaking Lineage Cannes Review: Teenage Sex and Death at Camp Miasma Is a Joyful Addition to Jane Schoenbrun’s Box of Mysteries The Best Movies Now Playing in Theaters The Wizard of Kremlin Review: An Irrelevant, Cynical Approach to Vladimir Putin’s Russian Catherine Breillat Sets Next Film With The German Cousin Jia Zhangke, Claire Denis, and Sam Raimi Set Next Features “Making Movies Should Be a Pleasure”: Olivier Assayas on The Wizard of the Kremlin Cannes Review: Kantemir Balagov’s Butterfly Jam Can’t Find a Rhythm Cannes Review: Dominga Sotomayor’s La Perra Ditches Facile Metaphors for Allusive Mysteries Obsession Review: A Nasty, Humorous Horror Breakout KimStim Acquires Kiyoshi Kurosawa’s Serpent’s Path Remake for Summer Release Cannes Review: Clarissa Provides a Formally Adventurous Showcase For Sophie Okonedo Magic Hour Review: Katie Aselton and Daveed Diggs Work Through Complex Emotions Nathan Silver Sets A Poet Remake as Next Feature Home Page