The Film Stage

“Cinema Should Serve as a Doorway to the Transcendent”: Nino Martínez Sosa on Liborio
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Through the story of the religious leader Papá Liborio, Nino Martínez Sosa’s 2021 film Liborio deftly contends with the cultural, spiritual, and political forces of a colonized Dominican Republic. After establishing a Black, self-sufficient community in the rural hills of...
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The Criterion Channel’s March Lineup Features Michael Mann, Alain Guiraudie, Dogme 95 & More
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No streaming service does a director retrospective like the Criterion Channel, and March offers two masters at opposite ends of exposure. On one side is Michael Mann, whose work from Thief through Collateral (minus The Keep) is given a spotlight;...
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Berlinale Review: The Ice Tower is Lucile Hadžihalilović’s Most Bewitching Film Yet
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If there is a filmmaker whose work can be described as “elemental cinema,” that’s Lucile Hadžihalilović. It’s easy to chronicle her 2015 film Evolution as fluvial for its many water (and underwater) scenes, but also how its rhythmic flow steers...
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Berlinale Review: Sam Riley-Led Neo Noir Islands Plays It Too Safe
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Sam Riley stars as Tom, a washed-up tennis-pro-turned-coach at a luxury island hotel on the Canary Islands, in Islands, the English-language debut of A Coffee in Berlin director Jan-Ole Gerster. He is the protagonist, but we know little about a...
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Berilnale Review: Girls on Wire is a Polished Yet Disappointing Return for Vivian Qu
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With just two films to her name (in addition to co-producing the Golden Bear-winning Black Coal, Thin Ice), Vivian Qu has become one of China’s most prominent female filmmakers. Her long-awaited follow-up to the excellent Angels Wear White (which premiered...
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Berlinale Review: Girls on Wire is a Polished Yet Disappointing Return for Vivian Qu
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With just two films to her name (in addition to co-producing the Golden Bear-winning Black Coal, Thin Ice), Vivian Qu has become one of China’s most prominent female filmmakers. Her long-awaited follow-up to the excellent Angels Wear White (which premiered...
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Berlinale Review: The Botanist Offers Sun-Soaked Landscapes, Coming-of-Age Curiosities
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Few things loosen the grip of winter like a sun-kissed film. Add listless days and young love to the narrative and you might even forget the icy chill outside. Snow was gently falling around the Zoo Palast before an early...
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Memoir of a Snail Director Adam Elliot on Making His Audience an Emotional Wreck and Why He Won’t Win the Oscar
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Two decades ago, stop-motion animator Adam Elliot burst onto the scene with his wonderful short Harvie Krumpet. Following a man cursed with lifelong bad luck, it earned him an Oscar and introduced the world at large to Elliot’s wicked sense...
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Berlinale Review: Ari Unlocks the Beautiful Mystery of an Ordinary Life
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French director Léonor Serraille’s third feature Ari is the portrait of an über-sensitive young man who ponders his place in the world while looking up people from his past to hold conversations that were never had. If this sounds like...
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Berlinale Review: Michel Franco’s Dreams Spins the Treacherous Dance of Love Across Borders
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Some images have become metonymic by nature, reflecting the political problems of today with little to no context needed. Such a shot opens Michel Franco’s newest offering, Dreams, and it is one of a huge truck abandoned next to a...
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