The Film Stage

Cannes Review: Dominga Sotomayor’s La Perra Ditches Facile Metaphors for Allusive Mysteries
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There’s a spot on the windswept island around which Dominga Sotomayor’s La Perra unfolds where gas bubbles up from the sea. A pipeline has burst by the shore, and fumes have gurgled out of it since time immemorial. It’s a...
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Cannes Review: All of a Sudden Is Ryusuke Hamaguchi’s Most Empathetic, Humanist Film to Date
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“Are healthy people truly alive?” It is early into All of a Sudden when Marie-Lou (Virginie Efira) hears the question that rings as a tagline for Ryusuke Hamaguchi’s new feature. The head of a private Parisian clinic for the elderly,...
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Cannes Review: Clarissa Provides a Formally Adventurous Showcase For Sophie Okonedo
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It might not have the fervent awards chatter that’s followed Sandra Hüller’s current run of form, but for the London-born actress Sophie Okonedo, 2026 is already looking like a quietly spectacular comeback year. After seeing Kelly O’Sullivan and Alex Thompson’s...
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Cannes Review: The Meltdown Is an Elusive Chilean Chiller
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With the halfway point of this year’s Cannes Film Festival fast approaching, one of the best movies I’ve seen is a Chilean chiller called The Meltdown. The story is set in a snowy ski lodge high up in the Andes,...
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Kenneth Lonergan Returns with Tomorrow Is a Drag; Aubrey Plaza, Adam Driver, Matthew Broderick, and Vanessa Kirby Starring
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Little word that comes out of Cannes is likely to match the news of Kenneth Lonergan’s return. A full decade since Manchester by the Sea (and two from Margaret‘s production), the writer-director has prepped a major cast for Tomorrow Is...
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Cannes Review: Asghar Farhadi’s Parallel Tales Is an Ambitious If Tedious Take on Kieślowski
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After two decades of features, Iranian Oscar winner Asghar Farhadi has made one thing abundantly clear: he lives in the grey zone, and so should we. Parallel Tales, Farhadi’s tenth film (and second in French), is a blend of Rear...
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Cannes Review: Gentle Monster Is a Masterfully Performed Drama In the Aftermath of Betrayal
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“Look into my eyes / can you see they’re open wide / would I lie to you?” Those lyrics linger in the air as a soft whisper for only a moment before the accompanying piano notes carry them away and...
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Cannes Review: With Club Kid, Jordan Firstman Announces Himself as a Director to Watch
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It’s never wise to assume anything. Promotional materials doing the rounds before Club Kid‘s raucous Cannes premiere this week suggested a New York downtown scene answer to Mia Hansen-Løve’s Eden, but Jordan Firstman’s funny, bittersweet, and tremendously moving directorial debut...
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Exclusive Trailer and Poster for Lisandro Alonso’s Double Freedom Marks a Powerful Reunion
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One of this year’s most-anticipated premieres is a rare occurrence for the Cannes Film Festival: a sequel. Coming full circle, Lisandro Alonso’s new feature is a follow-up to his acclaimed debut La libertad. Double Freedom (aka La libertad doble) catches up with woodcutter Misael...
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Cannes Review: Fatherland Finds Paweł Pawlikowski in a Heady, Aching Register
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Thomas Mann, Nobel Prize-winning writer and voice of the German resistance from abroad, fled Germany in 1933 to take refuge in California, where he lived for sixteen years before returning to Germany in 1949 to receive the Goethe Prize in...
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