The Film Stage

The final piece of the 63rd New York Film Festival film lineup has been locked into place. Expanding the traditional canon, Revivals celebrates works that have been restored, preserved, or digitally remastered. Featuring rediscovered gems and influential rarities, this selection...

Note: This review was originally published as part of our 2025 Cannes coverage. Highest 2 Lowest opens in theaters on August 15 and arrives on Apple TV+ on September 5. Spike Lee’s joints are known for their sweeping coverage of...

What is Mektoub, My Love about? Eight years since the first movie’s release––and after more than eight hours of Abdellatif Kechiche’s magnum opus––it’s still a question worth asking. The latest, Canto Due rounds out the trilogy with all the things...

Six years since Uncut Gems, Josh and Benny Safdie have forged separate paths—both are set to release major new films from A24 this fall. After Benny Safdie’s The Smashing Machine will hit theaters on October 3, A24 will debut Josh...

Whether it’s a tough marketplace, debuting at a crowded festival, or the fairly established fact that most people don’t want to see films pertaining to COVID (look no further than Bertrand Bonello’s Coma), Olivier Assayas’ Suspended Time has, from its...

Premiering earlier this year at Sundance Film Festival where it picked up the U.S. Dramatic Special Jury Award for its ensemble, Carmen Emmi’s feature debut Plainclothes stars Tom Blyth and Russell Tovey in a story of an undercover officer in...

Passages and Love Is Strange director Ira Sachs returned to the Sundance Film Festival earlier this year to debut Peter Hujar’s Day, a drama starring Ben Whishaw and Rebecca Hall, depicting a conversation recorded in 1974 between photographer Peter Hujar...

After their Main Slate and Currents lineups have been unveiled, the 63rd New York Film Festival has now revealed its Spotlight selections. Highlights include the world premiere of Anemone, marking Daniel Day-Lewis’ first role since 2017’s Phantom Thread, alongside world...

To know Dan Sallitt’s cinema is to only wish for more. After 2019’s Fourteen, his rough rate of one feature every seven years will hold in rather surprising, welcome fashion: Sallitt has shared with me information on What Can’t Be...

Long before they came to designate a state of hopeless confusion, the words “mare’s nest” once meant something more electrifying: the excitement for that which doesn’t exist. That’s a good way of thinking about the cinema of Ben Rivers. Perched...