Cannes

Nadav Lapid on Ahed’s Knee, Israel’s Collective Soul, and Embracing Western Archetypes

Two years on from swooping the Golden Bear in Berlin with Synonyms (one of our favorites of 2019), Nadav Lapid returns with Ahed's Knee, a fraught and blisteri...

Paris, 13th District Review: Jacques Audiard Weaves a Zestful Yet Underwhelming Tapestry

There is no such thing as a typical Jacques Audiard film. Take his last three as examples: in 2012 he captured the trauma-induced romance between a wayfaring f...

Cannes Review: Queer Palm Winner The Divide is Heavy-Handed Look at Recent French History

Anybody who thinks writers who use subtext are cowards will find plenty to admire in The Divide. Taking place over the course of one night, Catherine Corsini's...

Cannes Review: A Chiara Enthrallingly Concludes Jonas Carpignano’s Calabrian Trilogy

Writer-director Jonas Carpignano completes his Calabrian trilogy with A Chiara, an enthralling drama about a teenage girl coming to terms with her family’s rol...

Cannes Review: Nitram Admirably Examines the Factors That Led to a Tragedy

The Port Arthur massacre, taking place April 28th, 1996 on the island state of Tasmania, is routinely commemorated as one of the darkest days in Australia’s po...

Ryûsuke Hamaguchi on Adapting Murakami with Drive My Car and the Sound of Silence

Relatively speaking, Ryûsuke Hamaguchi is having a good 2021. Less than six months on from picking up the Silver Bear in Berlin for Wheel of Fortune and Fantas...

Cannes Review: The Year of the Everlasting Storm is a Creative Look at Globally Unifying Trauma

Anthology films like The Year of the Everlasting Storm, wherein a flurry of esteemed directors create short segments tethered to a common theme, lack a strong ...

Cannes Review: Three Floors is Nanni Moretti in Brash Soap-Operatic Mode

A car is knocked off-course on a quiet suburban street and crashes fatally into the front room of a well-furnished apartment. In the flurry of bricks and wall ...

The Best Films From the 2021 Cannes Film Festival

After a pandemic-forced cancellation last year, Cannes Film Festival made a triumphant return this year, featuring some premieres pegged for the 2020 edition a...

Cannes Review: Bruno Dumont’s France Playfully Breaks the Codes of Bourgeois Filmmaking

“My work is all about transfiguration… I'm not a naturalistic filmmaker at all.” So goes one of the most widely quoted statements by French auteur Bruno D...

News

Amnesiascope Presents a Rarely Screened Maggie Cheung Film on Tuesday, September 17

Cinephile Game Night Returns to 62nd New York Film Festival

John Woo Will Direct Sparks’ Musical X Crucior

Trailers

U.S. Trailer for Mati Diop’s Golden Bear-Winning Dahomey Gives Voice to Art

Sebastian Stan is Donald Trump in the First Trailer for The Apprentice

4K Restoration Trailer for Tarsem Singh’s The Fall Reintroduces a Dazzling Journey

Reviews

Venice Review: Kevin Costner Is Going Strong With Horizon: An American Saga – Chapter 2

TIFF Review: Joseph Kahn’s Ick is a Riotous, Satirical Take on the Creature Feature

TIFF Review: David Gordon Green’s Nutcrackers is a Frustratingly Contrived Affair

Features

Posterized September 2024: Eureka, Red Rooms, Matt and Mara & More

New to Streaming: Rebel Ridge, My First Film, Twilight of the Warriors: Walled In, Dìdi (弟弟) & More

NYC Weekend Watch: L.C. Barreto Productions, Andy Warhol, Another Woman & More

Interviews

Look Into My Eyes Director Lana Wilson on Psychic Tradition vs. Therapy, the Loneliness of NYC, and Hirokazu Kore-eda’s After Life

Jeremy Saulnier on Rebel Ridge, the Power of Information Deprivation, and Staying Energized Through Production Delays

Lee Daniels on The Deliverance, Shifting Culture, Douglas Sirk, and That Glenn Close Performance

Podcasts

The Film Stage Show Ep. 547 – Horizon: An American Saga – Chapter 1 (with Jen Johans)

The Film Stage Show Bonus Ep. – Box Office Bonanza (January 14, 2005)

The Film Stage Show Ep. 546 – Trap (with Dan Mecca)