The Film Stage

NYC Weekend Watch is our weekly round-up of repertory offerings. Roxy CinemaIn honor of Ken Kelsch, Abel Ferrara’s The Blackout and The Addiction screen on 35mm; prints of Douglas Buck’s Family Portraits: A Trilogy of America and the 2006 Sisters remake screen Saturday...

There’s always the high-wire act, an exchange-and-trade, attending festivals in enviable parts of the world. Some locations only offer too much joy at the opportunity to kill time with a directorial debut that will never be seen outside these confines....

After his trio of “Man in a Room” films, Paul Schrader has switched gears with the poignant drama Oh, Canada. Reteaming with his American Gigolo star Richard Gere, the film follows a famed Canadian documentary filmmaker who gives a final...

Not many people have mourned 3D cinema’s second waning. Yet, every now and then, the old parlor trick threatens to capture the imagination. I can think of two films in the last few years that have done such: the first...

With just three features to his name, Tyler Taormina has cemented himself as one of the most perceptive chroniclers of small-town America. His 2019 debut, Ham on Rye, tracked a gaggle of high school seniors as they geared up for...

It’s a shame Toxic wasn’t around for the recent excretions of body-horror discourse. Saulė Bliuvaitė’s debut feature, winner of the Golden Leopard at this year’s Locarno Film Festival, does at least as much to turn the stomach with its tablet...

In All We Imagine as Light, a nurse in a Mumbai hospital is confronted by the emptiness in her life when she helps a friend move to a seaside village. Set near an upscale Himalayan prep school, Girls Will Be...

After crafting the best film of 2023 (and 2024, depending on your release calendar) with The Beast, Bertrand Bonello is prepping his next feature. While he was tight-lipped on details, he tells Variety, “It’s a little early to talk about...

Tim Fehlbaum’s September 5 stars John Magaro, Peter Sarsgaard, Leonie Benesch, and Ben Chaplin as ABC sports journalists unexpectedly put in the position of narrativizing the hostage crisis of the 1972 Munich Olympics. It’s an effective thriller––one couldn’t accuse it...

We could tie ourselves in knots, draw party lines, and make blood oaths declaring cinema’s greatest-evers: directors, actors, screenwriters, even studios or entire national output. I have rarely heard a conversation for greatest-ever producer, so allow me to propose that...