The Film Stage

Cannes Review: Christian Petzold’s Mirrors No. 3 is an Enigmatic Drama About Letting Go
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Christian Petzold’s fifteenth feature Mirrors No. 3 marks his fourth with Paula Beer, the actor-muse he first directed in 2018’s Transit, a film that shares significant themes with his newest––chiefly that of total strangers inexplicably recognizing each other and immediately...
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Cannes Review: Drunken Noodles is a Sultry and Strangely Calming Drama
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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 year’s ACID lineup. Most people familiar with the New York-based, Argentinian-born director first encountered...
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Cannes Review: Brand New Landscape is an Embodied Estrangement Drama from a Fresh Perspective
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When confronted with the past, do you drive away or turn back to face it? Siblings Ren (Kurosaki Kodai, in his first lead role) and Emi (Mai Kiryu) have been estranged from their father (Ken’ichi Endô) for the ten years...
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Cannes Review: Chie Hayakawa’s Renoir is a Gradually Rewarding Coming-of-Age Story
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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 the main competition––an uncharacteristic breath of fresh air from a festival known...
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Cannes Review: With Nouvelle Vague, Richard Linklater Offers a Cinema Masterclass
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Shot on black-and-white film with the same Cameflex model used by Jean-Luc Godard for Breathless––the film it portrays and embodies the making of––Nouvelle Vague is not merely an imitation of Godard. It’s a theft of Godard for a creation all...
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Cannes Review: Ari Aster’s Eddington is an Ambitious 2020 Period Piece That Works in Fits and Spurts
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In Eddington, Ari Aster’s latest doom spiral, the proposed building of a data center in nowhere New Mexico provides the catalyst for a long-overdue psychological breakdown. The man in question is Sheriff Joe Cross (Joaquin Phoenix), whose perceived list of...
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Cannes Review: I Only Rest in the Storm Glides Over Many Ideas Without Fully Reckoning With Their Weight
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Late into I Only Rest in the Storm, Sergio (Sérgio Coragem) is asked a question he can’t seem to answer: what do you care about? A Portuguese environmental engineer hired to evaluate the ecological impact of a massive road set...
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Cannes Review: Oliver Laxe’s Desert Trance Sirat Is a Grand, Adventurous Achievement
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For the French-Spanish filmmaker Oliver Laxe, a competition berth in Cannes has been a long time coming. Laxe was here in 2010 (You All Are Captains), 2016 (Mimosas), and 2019 (Fire Will Come) without once going home empty-handed, and he...
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Cannes Review: The Mysterious Gaze of the Flamingo is a Deeply Affecting Queer Drama
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As reminders that ignorance, bigotry, and hate can literally kill, stories about the AIDS epidemic will always be relevant. The latest, beautiful example arrived courtesy of Chilean writer-director Diego Céspedes, whose feature debut The Mysterious Gaze of the Flamingo premiered...
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Cannes Review: A Useful Ghost Tells a Peculiar, Humorous Paranormal Tale 
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While ghosts and spirits have long been the conduit for cinematic scares and jolts, from The Innocents to Poltergeist to The Ring, a relatively recent wave of films exploring the supernatural has been more concerned with the tangible, emotional effects...
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