All articles by Giovanni Marchini Camia

Armageddon Time: James Gray reflects on his New York boyhood and loss of racial innocence

France shows that all the world’s a stage for the media

The Tsugua Diaries delights with a playful Portuguese puzzle

Annette sings up a storm of love, lust and lamentation

Martin Eden plays with history to tell a ragù to riches story

Ghost Strata continues Ben Rivers’ cinematic archaeology

Days: Tsai Ming-liang makes his peace with sexual release

Undine is Christian Petzold’s slippery love song to Berlin

The Whistlers review: Corneliu Porumboiu’s Canary Islands crime caper sings flat

Zombi Child first look: a post-colonial boarding-school voodoo horror

What should have won the 2019 Cannes Palme d’Or?

Lux Æterna first look: Gaspar Noé builds a meta-movie bonfire

Non-Fiction first look: Juliette Binoche and Guillaume Canet talk out publishing’s digital takeover

The Favourite first look: Yorgos Lanthimos courts controversy but cops out

In My Room first look: Ulrich Köhler welcomes the apocalypse

Ash Is Purest White first look: Jia Zhangke’s magisterial mob critique

Dead Souls first look: Wang Bing meets the survivors of Mao’s Anti-Rightist purge

The Rare Event review: metaphysical gymnastics with Bens Rivers and Russell

Transit first look: Europe’s past is now in Christian Petzold’s purgatorial palimpsest

Infinite Football review: the new rules of the game

Claire’s Camera and The Day After review: two poles of the Hong Sangsoo affair

Perchance to dream: a long night with Apichatpong’s shorts