Love Like This Before: Sims-Fewer & Mancinelli Examine the Ethics of Love
Canadian filmmaking duo Madeleine Sims-Fewer and Dusty Mancinelli follow up their disturbing 2020...
Born to Die: Joon-ho Beguiles with Irreverent Sci-Fi Socio-Satire
After significant delays, Bong Joon-ho’s highly anticipated Mickey 17 at last arrives with all his signature...
Feed My Fetish, Please: Cattet & Forzani Pay Homage to the Eurospy in Dazzling Pastiche
Whether giallo gore or Western shaped, their films don’t lose...
The Parent Trap: Sang-soo Takes Sideways Swipe at Social Etiquette
A constant purveyor of how subtle social cues are obliterated by the lowered inhibitions of...
May Days: Baier’s Broad Commentary on a Revolutionary Footnote
“Great minds discuss ideas; average minds discuss events; small minds discuss people,” said Eleanor Roosevelt. Dipping...
Schools of Survival: Gornostai Probes the Resiliency of Ukraine’s Education System During Wartime
Despite reflecting the distressing normalization of wartime on an entire generation of...
Can You Ever Forgive Me?: Jude Skewers the Status Quo
Ownership is an unsaid key word in Kontinental ’25, the latest perambulating spasm from Romanian...
Nothing is Everything: Eldin’s Continuing Exploration of Existential Crisis
For his sophomore film Yunan, intended as the second chapter in a thematic trilogy following 2021’s...
Love on the Brain: Haugerud Caps Trilogy with Teenage Wasteland
With his latest film Dreams (Sex Love) (aka Drømmer), the final installment in his thematic...
Look What’s Happened to Rosemary’s Baby: Moder Repeats Motherhood Horrors
A palpable, instinctual fascination with the potential horrors of pregnancy are exactly why neonatal dread...
The Best Little Secrets Are Kept: Hambalek’s Absurdly Skewers the Virtues of Honesty
Honesty may indeed be the best policy and maybe the truth might...
High Tension: Deville & Dufeys Suffer the Children in Jittery Debut
Tossing us right into the hellfire of an acutely agonizing situation, Charlotte Deville and...
Crimes of the Future: Mascaro Envisions Trouble Ahead
“Getting old ain’t no place for sissies,” a quote often attributed to Bette Davis (or similar variations...
Magnificent Obsession: Franco Finds Love is a Hopeless Place
Michel Franco lassos Jessica Chastain into his continued class conflict examinations in Dreams, an intimate portrait...
Burn After Filming: Büyükatalay Explores Colliding Perspectives in Nuanced Drama
While it can’t be described as a classic thriller, Mehmet Akif Büyükatalay’s sophomore film Hysteria...
Murmur of the Heart: Serraille Conquers Indifference Through Sincerity
With her third feature, Ari, director Léonor Serraille confirms a clear pattern of interest in exploring...
Devil May Care: Bucio’s Tantalizing Premise Fizzles Out
With an enigmatic premise and a formidably morbid title, Ernesto Martinez Bucio’s debut The Devil Smokes...
The Eternal Daughter: Lenkiewicz Ladles the Milk of Sorrows
Screenwriter Rebecca Lenkiewicz makes her directorial debut with Hot Milk, an adaptation of Deborah Levy’s comically...
Sister, My Sister: Fischer Tests the Moral Fibers of Familial Bonds
An ethical dilemma curdles in the heart of Sarah Miro Fischer’s directorial debut Schwesterherz...
Circles of Perfection: Djukić Surveys the Compromises of Sexual Awakening
Taking its title from the 1995 Sonic Youth track Little Trouble Girls (Kaj ti je...
Sofie, Homemaker: Petersen Banks on Undervalued Emotional Labor
Danish director Frelle Petersen’s latest title Home Sweet Home (Hjem kaere hjem) aims to showcase the significant...
Wasting Electricity: Tykwer Illuminates a Narrative Void
Despite revealing itself to be an interconnected rumination on aspects of the soul, Tom Tykwer’s Das Licht (The...
After premiering his debut feature Oray at the Berlinale in 2019 with Oray (winner of the best first feature award), German-based filmmaker Mehmet Akif...
Nineteen features in competition, Artistic Director Tricia Tuttle loaded up on some mainstay auteurs with the likes of Richard Linklater, Michel Franco, Hong Sangsoo,...