The Film Stage

Berlinale Review: An Extraordinary Isabelle Huppert Dwarfs Everyone Else In Ulrike Ottinger’s Campy The Blood Countess
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When I think about a quintessential Isabelle Huppert film, I like to defer to a largely forgotten feature that will soon turn ten: Serge Bozon’s 2017 Mrs. Hyde. I say “quintessential” because Huppert has long excelled at playing beleaguered women...
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Sean Baker, Miguel Gomes, Véréna Paravel, Laura Citarella, and Eduardo Williams Plot New Films
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Any film that earns you, personally, the greatest number of Oscars since Walt Disney is a tough act to follow, so one must admire Sean Baker’s lack of pretension in succeeding Anora with a tribute to one of the, let’s...
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Berlinale Review: Tristan Forever Highlights a Jaded Doctor’s Search for Purpose
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There’s a melancholy to Tobias Nölle and Loran Bonnardot’s Tristan Forever that is comforting. A lingering, existential question hangs over everything: where does one belong? In the film, a Parisian doctor (Bonnardot himself) decides to permanently move to the South...
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Berlinale Review: Mouse Offers a Tender Companion After Loss
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It’s the last day of junior high for Minnie (Katherine Mallen Kupferer) and her best friend Callie (Chloe Coleman); the veil of adulthood has never felt as thin as it does on that late-June morning in the car, blasting Michelle...
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Berlinale Review: We Are All Strangers Channels Edward Yang to Kitschy But Compelling Ends
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The new film from Anthony Chen takes a minute to find its rhythm. For the first hour or so of its admittedly substantial runtime, I couldn’t help but wonder if an LLM, prompted to make the most normcore script imaginable,...
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Berlinale Review: Alain Gomis’ Dao is a Riveting Family Saga
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To belong to the diaspora is to inhabit a paradox: a state of in-betweenness, neither fully inside or outside one’s home and adoptive countries. Films trying to map that condition also tend to feel somewhat “suspended,” populated as they are...
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Berlinale Review: Rosebush Pruning is a Maximalist, Muddled Attempt at Cinematic Transgression
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Moulding cruel or nihilistic characters into darkly attractive protagonists requires a deceptively delicate touch. We’ve grown so used to seeing it done effortlessly that a movie like Rosebush Pruning can perhaps be some useful reminder of how difficult it is...
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“We Cut 95% of It Out”: Matt Johnson on Nirvanna the Band the Show the Movie, Constant Re-Editing, and Season 3
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From its humble beginnings as a scrappy viral web series nearly two decades ago, Matt Johnson and Jay McCarrol’s Groundhog Day-esque mission of attempting to book a show at Toronto’s Rivoli Theatre has now, two TV seasons on, reached the...
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The Criterion Collection’s May Lineup Includes Akira Kurosawa, Bob Fosse, and Joachim Trier on 4K
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Every so often Criterion upgrades a title so old it is, in effect, new again. Case in point: Akira Kurosawa’s Stray Dog, first put on DVD around the time this year’s college graduates were born, is coming to 4K this...
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First Look at Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma, Set for August Release
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After Jane Schoenbrun’s haunting, astounding second feature I Saw the TV Glow topped our list of the best films of 2024, we’ve been counting down the days for the release of their follow-up. Teenage Sex and Death at Camp Miasma,...
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