The Film Stage

Cannes Review: Coralie Fargeat’s The Substance is an Overstimulating, Impressive Thrill
||
Coralie Fargeat made a splash with her debut Revenge. But she was only standing in a puddle, endearing niche corners of the global cinephile community to her cinematic bloodlust for sexually violent men and gore-horror filmmaking. With her second, The...
continue reading
“Films Can’t Fix Lives”: Arnaud Desplechin on Filmlovers!, The Fabelmans, and Jean-Luc Godard
||
When it was announced Arnaud Desplechin’s next feature Spectateurs! (titled the less-appealing Filmlovers! in English) would be a) a docu-fiction hybrid; b) about cinema and, in particular moviegoing; c) a continuation of the Paul Dedalus saga that’s starred Mathieu Amalric...
continue reading
Cannes Review: Universal Language is a Beguiling, Surrealist Ode to Persian Cinema
||
In Universal Language, a man makes a journey to his childhood home and meets the family now living there––these are at least the broad strokes. The director is Matthew Rankin, a Canadian filmmaker whose work usually requires less-basic terms. In...
continue reading
Cannes Review: The Surfer Knows Exactly What to Do with Nicolas Cage
||
In The Surfer, an exploitation film set to pressure-cook, a mild-mannered man is pitted against a group who even Andrew Tate might find a touch extreme. It’s set in South Australia on fictional Luna Bay, the kind of place where...
continue reading
Cannes Review: Sean Baker’s Anora is a Devastating, Gut-Busting Beauty
||
Up to this point, Mikey Madison––the fearless, explosive 27-year-old lead of Sean Baker’s Anora––is best-known for her chilling turn as the deranged killer in the 2022 Scream reboot. Before that she was the shrieking Manson girl in the finale of...
continue reading
An Anime Landmark Returns In Trailer for Ghost in the Shell 2: Innocence‘s 4K Restoration
||
It’s opportune timing for a 4K restoration of Ghost in the Shell 2: Innocence, the only anime feature to debut in competition at the Cannes Film Festival. The 20 years since that premiere have been kind to Mamoru Oshii’s film,...
continue reading
First Footage From Leos Carax’s It’s Not Me Reflects on a Visionary Career
||
Aside from Jean-Luc Godard’s last film, one of the shortest premieres at Cannes Film Festival that was among our most-anticipated is Leos Carax’s 40-minute cine-memoir It’s Not Me. While our review of the latest work from the Holy Motors and...
continue reading
Cannes Review: The Hyperboreans is Cristóbal León and Joaquín Cociña’s Warning Against Political Amnesia
||
“We humans are capable of greatness,” reads the first line in Cristóbal León and Joaquín Cociña’s The Hyperboreans as the narrator’s voice beams from an old TV set. On the screen, a hypno wheel spins and spins; the voice speaks...
continue reading
The Film Stage Show Classic – Field of Dreams (with Noah Gittell)
||
Welcome to a new episode of The Film Stage Show! Brian Roan and Robyn Bahr discuss Field of Dreams (now streaming on Prime Video) in a special Classic episode featuring guest Noah Gittell, author of the new book Baseball: The...
continue reading
Cannes Review: To a Land Unknown Tells a Bitter Poem of Palestinian Exile
||
The tragic predicament of the Palestinians and what they’re now being subjected to begs to be analyzed and dissected, with various areas of dubious historical consensus put to new scrutiny; in Mahdi Fleifel’s fiction debut To a Land Unknown, we’re...
continue reading