‘A Vanishing Fog’ Review: SXSW-Winning Eco-Parable Excavates the Fading Highlands of Colombia
For his latest feature, Colombian filmmaker Augusto Sandino channels the traditions of Magic Realism to assemble a dreamlike (or nightmarish) eco-parable that fictionalizes the annihilation of one of the country's last untamed landscapes and the tribulations of those who call it home.
‘The Ugly Stepsister’ Review: A Familiar Fairytale Reimagined with Gross Out Body Horror
For her feature debut, Norwegian filmmaker Emilie Blichfeldt channels her own feminine experiences to focus on a perspective in the iconic fairytale Cinderella that is typically skewed villainously, culminating with an entertaining work of body horror that oscillates between heartbreaking and disgusting.
‘The Teacher’ Review: Saleh Bakri Commands a Potent Social Realist Drama Set in Palestine’s West Bank
Palestinian-British filmmaker Farah Nabulsi's feature debut tracks a resistance fighter-turned-teacher who forms a deep connection with one of his students following a sudden tragedy.
‘Việt and Nam’ Review: Trương Minh Quý Exhumes the Perpetual Ghosts of His Home Country
Truong’s Cannes-premiering latest work uniquely explores the Vietnamese spirit and its modern history, working as a singular spin on a ghost story wrapped in a heartbreaking romantic drama.
‘Julie Keeps Quiet’ Review: Personal Agency Examined through a Sobering Tennis Drama
Belgian filmmaker Leonardo Van Dijl's Cannes-premiering debut feature stars non-professional actor/tennis player Tessa Van den Broek as a rising talent whose career is thrown into a tailspin when her favorite coach is accused of sexual misconduct.
‘Who by Fire’ Review: Resentments Ignite on Vacation in Philippe Lesage’s Enthralling New Movie
The latest work from the Quebecois filmmaker, Who by Fire utilizes the framework of a bad vacation to astutely deliver a coming-of-age tale that is both highly refined and refreshed in its approach to a tried and true concept.
‘The Empire’ Review: A Simultaneously Zany and Inert Reworking of the Sci-Fi Space Opera
French auteur Bruno Dumont’s Berlinale-winner The Empire is a genre-mashing comedy that is light on humor but heavy on impressive craftsmanship.
‘Special Operation’ Review: Kyiv-Based Filmmaker Oleksiy Radynski Pieces Together CCTV Footage to Document the Earliest Days of Russia’s Invasion of Ukraine
Compiled entirely from surveillance footage from the security cameras at the Chornobyl Power Plant, Special Operation leans into the pure reality of imagery to remark on the ongoing Russian assault on Ukraine.
‘Lurker’ Review: Celebrity Obsession Reaches New Heights in the Modern Age
In his filmmaking debut, Alex Russell grapples with a blossoming fandom that turns into a twisted obsession, starring arthouse regular Théodore Pellerin and Saltburn breakout Archie Madekwe as a musician on the rise and his newfound groupie, who enter an increasingly psychological game of cat and mouse.
‘The Blue Trail’ Review: Gabriel Mascaro’s Latest Captures the Newness of Living Through a Journey Down the Amazon River
Mascaro’s Competition title at this year’s Berlinale is a vibrant spin on the road film genre that stars Denise Weinberg as a vivacious septuagenarian who refuses to be cast aside by the contemporary world.
‘Dreams’ Review: Jessica Chastain Leads a Cruel Love Story That Speaks to the Mexico-United States Border Crisis
Totally inconsolable in its views of today's America, Michel Franco’s Dreams is a steely, fascinating story of cross-cultural lovers doomed from the start.
‘Mickey 17’ Review: Bong Joon Ho is BACK, Baby!
Since his 2020 Best Picture winner Parasite, fans old and new have patiently anticipated Bong’s follow-up. Wait no longer because Mickey 17 is finally here in all its brilliant, hilarious, and spectacular glory.
‘Rose’ Review: French Icon Françoise Fabian shows Us That Joie de Vivre Is Truly Timeless
Directed by French singer-turned-filmmaker Aurélie Saada, Rose follows a seventy-eight-year-old Jewish Parisienne who discovers a new lust for life following a family tragedy.
‘Pepe’ Review: Flashes of Brilliance Intermingle with Frustration in This Eccentric “Cocaine Hippo” Biopic
The latest work from Dominican filmmaker Nelson Carlo De Los Santos Arias, Berlinale-winner Pepe is a kaleidoscopic rumination on displacement, collective memory, and colonial violence, channeled through the ghostly perspective of Pablo Escobar’s most infamous hippopotamus.
‘Oceans Are the Real Continents’ Review: A Striking Black and White Elegy for the Lives Left Behind in Contemporary Cuba
Italian filmmaker Tommaso Santambrogio’s latest captures the isolation of Cuba’s inhabitants through a lyrical triptych representing the nation’s past, present, and future.
‘Endless Summer Syndrome’ Review: Family Vacation Leads to Ruination in a Thorny, Alluring French Thriller
The feature debut from Prague-based Iranian filmmaker Kaveh Daneshmand, Endless Summer Syndrome compellingly probes a seemingly normal upper-middle-class French family to explore the mistrust and deceit that lies just below the surface.
‘The Taste of Mango’ Review: A Deeply Personal Exploration of Familial Trauma and Connection from First-Time Filmmaker Chloe Abrahams
With a sensitively essayistic approach, Abrahams turns to her mother and grandmother to confront the social and generational challenges that have shaped their enduring familial bond, creating an emotionally moving work of documentary filmmaking.
‘Flow’ Review: Latvia's Oscar Hopeful Is One of the Most Purely Cinematic Experiences of the Year
Perfect for movie-goers ranging from arthouse aficionados to small children, Gints Zilbalodis' second feature merges visionary animation with a touching animal adventure tale to create one of our time's most innovative films.
‘All We Imagine as Light’ Review: A Rhythmic Revelry for the Women of Mumbai
Payal Kapadia’s Cannes-winning narrative feature debut is a delicate exploration of contemporary womanhood in India and one of the best films of 2024.
‘Youth (Homecoming)’ Review: Wang Bing Completes His Seminal “Youth” Trilogy
For the finale piece of his expansive "Youth" Trilogy, the Chinese documentarian again returns to the proletariat subjects employed in the garment workshops of Zhili, this time framing them within the context of the larger world outside of their relentless working conditions.