The new film from Jean Pierre and Luc Dardenne is much like the others. The actors are mostly non-professional; the locations are real; the themes are sociolog...
It’s a brisk March morning in Luxembourg and my conversation with Paul Laverty has turned to Cantona. “Remember that goal he scored, with Brian McClair?” A cla...
Among the best things in The President’s Cake are the colors. There's the deep red of a rooster's comb as it peeks out from a young girl's carrying pouch; ...
For the second time in three years, Cannes' competition ends with a film in which Josh O’Connor plays a scruffy, late-20th-century man with some knack for ...
I could name few living filmmakers better equipped for the Western than Alessio Rigo de Righi and Matteo Zoppis. The duo behind The Tale of King Crab––a film I...
Continuing in the low-key register of her Golden Bear winner Alcarràs, Carla Simón returns with Romería, another tale of intergenerational dissonance. A film a...
A few scenes into Urchin, we take a trip through the Bardo. First the camera (as in a million films before this) closes in on a shower drain, but then somethin...
Near the climax of Lynne Ramsay's You Were Never Really Here, two assassins––one well-dressed but dying, the other ragged but definitely alive––laid together o...
The laws of time and space are met with frisky ambivalence in Drunken Noodles, Lucio Castro’s anticipated third feature and surely the hottest title in this ye...
Just three years since earning a special mention from the Camera d’Or jury for Plan 75, Chie Hayakawa returns to Cannes as one of seven filmmakers debuting in ...
Irish-born, Berlin-based, Rory O'Connor has been covering the European film festival circuit since 2012. A regular contributor to The Film Stage, his work has also appeared in Frieze, The Playlist, and CineVue.
