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Recent Posts in ‘The Film Stage’

Cannes Review: ’24 Frames’ is an Experimental Swan Song for Abbas Kiarostami

Cannes 2017 ReviewIndependent; 120 minutes Director: Abbas Kiarostami Written by Giovanni Marchini Camia on May 23, 2017  Cinema lost one of its pre-eminent pioneers when Abbas Kiarostami died on July 4, 2016. Over the course of his 46-year filmmaking career, the Iranian master never ceased to probe cinema’s ability to represent reality, finding ever new […]

Cannes Review: ‘A Ciambra’ Bends Social Realist Rules with Bracing, Unsentimental Drama

Cannes 2017 ReviewSundance Selects; 118 minutes Director: Jonas Carpignano Written by Rory O’Connor on May 23, 2017  Director Jonas Carpignano returns with his first film since Mediterranea (which broke out from Cannes Critics’ Week sidebar two years ago) to remind us that alpha male pecking orders are unavoidable in some parts of the world and […]

Cannes Review: ‘Redoubtable’ Offers a Playful Pastiche on the Re-Radicalization of Jean-Luc Godard

Cannes 2017 ReviewIndependent; 107 minutes Director: Michel Hazanavicius Written by Rory O’Connor on May 23, 2017  It’s more Pastiche du Godard than Histoire(s) du Godard in Michel Hazanavicius’ Redoubtable and that’s not a bad thing. The director’s slight but surprisingly playful account of nouvelle vague maestro Jean-Luc Godard’s marriage to actress Anne Wiazemsky and his re-radicalization […]

The Film Stage Show Ep. 242 – Alien: Covenant

Welcome, one and all, to the newest episode of The Film Stage Show! This week, I am joined by Michael Snydel and Bill Graham, and we talk about the newest film in the long-running Alien franchise, Alien: Covenant, directed by Ridley Scott. Subscribe on iTunes or see below to stream download (right-click and save as…). M4A: The Film Stage Show […]

Watch: Nicole Kidman Flosses and Colin Farrell Shows His Hair in First ‘The Killing of a Sacred Deer’ Clips

Yorgos Lanthimos’ The Killing of a Sacred Deer recently debuted at the Cannes Film Festival, where it proceeded to make an entire audience uncomfortable, as a Lanthimos film is wont to do. In our review, Giovanni Marchini Camia said that Lanthimos “creates a gripping and steadily intensifying sense of foreboding” while also noting the film was “inordinately […]

First Look at Ethan Hawke and Amanda Seyfried in Paul Schrader’s ‘First Reformed’

After last year’s reasonably well-received Dog Eat Dog, director Paul Schrader has already embarked upon his latest project, entitled First Reformed. Apparently taking place more in the vein of his more dramatic works rather than the crime thrillers he has made as of late, it follows an ex-military chaplain (Ethan Hawke) who, while grieving the recent […]

Dark Mood Woods: A Twin Peaks Podcast – Episodes 1 & 2

Welcome to Dark Mood Woods: A Twin Peaks Podcast, in which Managing Editor Nick Newman and contributor Ethan Vestby discuss David Lynch‘s return to long-form filmmaking. This summer, join us as we offer insight and knowledge only devoted fans can bring, along with the curiosity of what, exactly, has been happening in the Pacific Northwest these […]

Cannes Review: ‘The Rider’ is a Beguiling Docudrama Set in the American Plains

Cannes 2017 ReviewIndependent; 104 minutes Director: Chloe Zhao Written by Ed Frankl on May 22, 2017  What does a cowboy do when he can’t ride? Chloe Zhao’s absorbing South Dakota-set sophomore feature has its titular rider come to terms with such a fate, in a film that’s a beguiling mix of docudrama and fiction whose […]

Cannes Review: ‘The Florida Project’ is Aesthetically Rich, But Narratively Slight

Cannes 2017 ReviewIndependent; 105 minutes Director: Sean Baker Written by Rory O’Connor on May 22, 2017  There are surely few sweeter delights in this troubling world of ours than seeing Willem Dafoe politely escort a group of storks off a motel driveway. It is, perhaps, the best of a number of striking visual flourishes in […]

Cannes Review: ‘The Killing of a Sacred Deer’ is Pure and Simple Sadism

With the successive features Dogtooth, Alps, and The Lobster, Yorgos Lanthimos seemed to be going down the same route as Wes Anderson, i.e. become one of those auteurs who refines rather than expands on his idiosyncrasies, making largely interchangeable films on an ever grander scale but with diminishing returns. In this regard, The Killing of […]