The Film Stage
Cannes Review: Radu Jude’s Diary of a Chambermaid Is a Humurous, Slight Meta Take on Mirbeau
Radu Jude has been rolling through features since his international breakout Aferim! …
The Film Stage
Cannes Review: With Coward, Lukas Dhont Sets Queer Love Story In Trenches of WWI
Cinema has taken viewers to the trenches of World War I so often that audiences might…
The Film Stage
Cannes Review: La Bola Negra Feels Like an Epic, Long-Lost Novel
If 19th- and 20th-century storytelling was defined by grandiose literature, the 2…
The Film Stage
Cannes Review: La Gradiva Is a Remarkable Debut of Extraordinary Sensitivity
Marine Atlan’s La Gradiva —winner of the Cannes Critics’ Week Grand Prize—begins …
The Film Stage
Cannes Review: Low Expectations Is an Accomplished and Bittersweet Debut
From A Star is Born to Vox Lux to Inside Llewyn Davis , cinema abounds with stories…
The Film Stage
New to Streaming: Miroirs No. 3, Kill Bill: The Whole Bloody Affair, Mother Mary, Palestine 36 & More
Each week we highlight the noteworthy titles that have recently hit streaming platfor…
The Film Stage
Tuner Review: An Entertaining, Conveniently Scripted Caper
Oscar-winning director Daniel Roher says he lost his artistic inspiration after Naval…
The Film Stage
Cannes Review: Andrey Zvyagintsev’s Minotaur Is a Fascinatingly Lopsided Drama
The parting image in Andrey Zvyagintsev’s Loveless was a woman in a tracksuit with t…
The Film Stage
Cannes Review: The Man I Love Presents a Lovingly Detailed World and Lacking Lead Performance
In Ira Sachs’ last film, Peter Hujar’s Day , the director used a rigorous framing dev…
The Film Stage
Cannes Review: I See Buildings Fall Like Lightning Is a Captivating, Polyphonous Ode to Friendship
Clio Barnard returns to Directors’ Fortnight after The Selfish Giant and Ali &am…
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