The Film Stage

Remember the glory days of 2018 moviegoing? Those with MoviePass can now relive the rise and fall of the company that offered customers a subscription service to watch one movie a day for the price of just $9.95 a month...

Welcome to The B-Side, from The Film Stage. Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. And sometimes if we’re lucky we talk...

After crafting some of the most entertaining B-movies in recent years with Crawl and Oxygen, Alexandre Aja is returning with a new one-location psychological thriller this year. Never Let Go, not to be confused with Kazuo Ishiguro’s book and Mark...

At long last, Kathryn Bigelow is returning to filmmaking. After 2017’s Detroit, she was developing the David Koepp-scripted thriller Aurora for Netflix but has now moved on to another project for the company. The untitled thriller will unfold in real-time...

While Jim Jarmusch kicked off Cannes five years ago with his last feature, The Dead Don’t Die, the filmmaker is now revealing the first details on his next film during the festival. As we’ve already known, Father Mother Sister Brother features a...

Almost a decade since his debut feature The Here After premiered at Directors’ Fortnight, Swedish director Magnus von Horn is finally in Cannes Competition with the black-and-white period film The Girl with the Needle. Previously there was Sweat––the Polish-language jab...

From her debut feature, French filmmaker Agathe Riedinger wants a sparkling yet still-realistic account of the thorny relationship between youth and fame. Wild Diamond is the first film to screen in this year’s Cannes Official Competition and it owns it,...

Transitioning the naturalistic comic sensibilities that made Better Things a success, Pamela Adlon’s feature debut Babes manages to co-opt the rhythms of a romantic comedy to explore the relationship between two best friends at opposite points of their lives. Eden...

It’s one of the great fallacies that comedy doesn’t need to look good. (Blame years of badly lit Apatow productions and nearly every modern studio release being 4K-shot eye torture.) A strong rebuke might be Criterion releasing Albert Brooks’ Real...

Welcome to a new episode of The Film Stage Show! Brian Roan and Robyn Bahr discuss Jane Schoenbrun’s I Saw the TV Glow with special guest Katie Rife. Enter our giveaways, get access to our private Slack channel, and support...