Editorial

Culture

Why can’t Christian Petzold adapt Georges Simenon?

By Tobias Grey

Review

Harvest review—a brutal and earthy tale

By Chris Cotonou

Review

The Brutalist review—Brady Corbet’s architectural epic is poised for glory

By Jenna Mahale

Film

Sweltering desire: a critic’s verdict on the 2024 Venice Film Festival

By Rafa Sales Ross

Review

Queer review—sex only sells in Guadagnino’s stylish adaptation

By Jenna Mahale

Review

Happyend review—Neo Sora says the kids will be alright

By Chris Cotonou

Review

The Room Next Door review—an understated upstairs downstairs

By Jenna Mahale

Confessions

Vive l’amour at 30: Tsai Ming-liang revisits his intoxicating masterpiece

By Luke Georgiades

Review

Vermiglio review—an atmospheric tale of the mountains

By Chris Cotonou

Review

Maria review—portrait of the artist as an older woman

By Jenna Mahale

Confessions

Producer Alex Saks on It Ends With Us: “We don’t make a ton of movies anymore that elicit emotions like this.”

By Luke Georgiades

Confessions

In Sing Sing, Clarence Maclin is tapping into his rawest self

By Luke Georgiades

Art & Photography

Inside the sacred and profane world of Penny Slinger

By Young Kim

Confessions

Joachim Rønning: “Young Woman and the Sea [is] the movie I want for my daughters.”

By Sam Murphy

Film

The Last Samurai: in memory of Alain Delon

By Makis Papantoniou

Film

Venice 2024: 10 unmissable films playing this year

By A Rabbit's Foot

Film

Anurag Kashyap on Gangs of Wasseypur

By Anurag Kashyap

Art & Photography

Becoming Georgia O’Keeffe

Film

Happy 100th birthday, Sidney Lumet!

By PK Fellowes

Confessions

With Didi, Sean Wang is telling a new kind of coming-of-age story

By Luke Georgiades

N0.11 RIVIERA – 2025

LATEST
ISSUE

Featuring: Benicio Del Toro, Durga Chew-Bose on revisiting Bonjour Tristesse, Amanda Lear on Dalì, Ariane Labed in Athens, Derek Ridgers Cannes Confidential, Akila Berjaoui's Summer, Camus in Algeria, Sailing with Sam Spiegel

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