All articles by Giovanni Marchini Camia

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

Undine is Christian Petzold’s slippery love song to Berlin

Undine review: Christian Petzold’s slippery love song to Berlin

Ghost Strata first look: Ben Rivers’ cinematic archaeology

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

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

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

The Halt first look: Lav Diaz dreams a cataclysm for his country

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

Synonyms first look: Nadav Lapid muddies the dreams of an Israeli in Paris

Berlinale first look: Earth presents a symphony of Anthropogenic destruction

Berlinale first look: The Blue Flower of Novalis is verité portraiture to reckon with

Our Time first look: Carlos Reygadas gores masculinity on its own horns

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

An Elephant Sitting Still review: a shattering, soul-searching Chinese one-off

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

Infinite Football review: the new rules of the game

What should have won the 2017 Cannes Palme d’Or?

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

The Square review: a lofty, laboured lecture on inequality

Western review: once upon a time in modern-day eastern Europe

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