The Film Stage

Cannes Review: Carson Lund’s Eephus is the Definitive Baseball Hangout Movie 
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If the perfect sports movie illuminates the fundamentals that make one fall in love with the game, there may be no better movie about baseball than Carson Lund’s Eephus. Structured solely around a single round of America’s national pastime, Lund’s...
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Cannes Review: Oh, Canada Finds Paul Schrader Meditating on the Indignities of Dying
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The cinema of Paul Schrader has always felt like a confessional, all those dark rooms and troubled men, the registered Swiftie’s own tortured poets department. The confessional edges closer to the form in his latest film, Oh Canada, an august...
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Cannes Review: In Christmas Eve at Miller’s Point, Cinema and Family Beautifully Come Together
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Writing on Martin Scorsese’s Shutter Island in 2010, Anthony Lane whipped a quote from Umberto Eco: “Two cliches make us laugh but a hundred clichés move us, because we sense dimly that the clichés are talking among themselves, celebrating a...
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Cannes Review: Francis Ford Coppola’s Megalopolis is a Garish Wonder to Behold
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If you dove head first into Francis Ford Coppola’s Megalopolis, you would get a concussion. The filmmaker’s supposed opus––a glitzy, gargantuan, long-gestating project that he conceived of in the late ‘70s, attempted to make more than once in the ‘80s,...
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Francis Ford Coppola on Having No Regrets with Megalopolis and the Films He’d Never Re-Edit
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After batting around the mind of Francis Ford Coppola for nearly half-a-century, Megalopolis was bestowed upon the world yesterday at the Cannes Film Festival. While reactions were expectedly divisive, and our review will be arriving shortly, we’ve now gleaned more...
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Pablo Larraín: Apichatpong Weerasethakul’s Films Make “Me Feel Less Lonely”
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Launched last year by Wes Anderson’s producing partners at Indian Paintbrush, GALERIE has emerged as a well-curated film club publishing unique selections of films from artists with their personal annotations. With past lists from the likes of James Gray, Ed...
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Cannes Review: In Bird, Andrea Arnold’s Experiment in Magical Realism Rarely Takes Off
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This year’s Cannes competition began with a film set in a working-class environment where a young woman with a single mother dreamed of escaping it all through dance. It was Agathe Riedinger’s Wild Diamond, but squint the eyes and forget...
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Watch Martin Scorsese’s Bleu de Chanel Ad Starring Timothée Chalamet
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Martin Scorsese’s latest directorial effort and first collaboration with Timothée Chalamet is upon us––it just happens to clock at 1/206th Killers of the Flower Moon‘s length and point us towards a product. But this Bleu de Chanel ad features nearly...
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Cannes Review: Josh Mond Returns With Vibey Down-and-Out Road Movie It Doesn’t Matter
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The best festivals point to the future, capture the zeitgeist, or honor the past. At Locarno in 2015, you could have had all three: Ryusuke Hamaguchi’s Happy Hour (his first time premiering in a major competition), Chantal Akerman’s No Home...
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New to Streaming: Challengers, Chime, Sasquatch Sunset, Power & More
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Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here. American Fiction (Cord Jefferson) Thelonious “Monk” Ellison is in a rut. He’s still trying...
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