Tag: Foreign Film Review
Home Stories | 2026 Berlin Intl. Film Festival Review
The Unbearable Likeness of Being: Trobisch Mines Banality in Family Drama
Each unhappy family is unhappy in its own way…and sometimes those unhappy ways are...
Light Pillar | 2026 Berlin Intl. Film Festival Review
Capitalism & The Cosmos: Jinwei Ambitiously Explores China’s Future with a Stark Warning For Its Present
Long have Chinese filmmakers used the medium of film...
Flies (Moscas) | 2026 Berlin Intl. Film Festival Review
All the Small Things: Eimbcke Explores the Pleasures of Disruption
The titular insects of Fernando Eimbcke’s latest feature, Flies (Moscas), metaphorically represent an unwanted, aggravating...
Wolfram | 2026 Berlin Intl. Film Festival Review
The Torn Birds: Thornton Returns to Brutality of the Australian Frontier
The sovereignty of Australia was never officially ceded by its First Nations peoples, succinctly...
My Wife Cries | 2026 Berlin Intl. Film Festival Review
Where Did Our Love Go?: Schanalec Deconstructs the Break-Up Drama
True to form, or rather, anti-form, Angela Schanelec’s latest exercise, My Wife Cries (Meine Frau...
Trial of Hein (Der Heimatlose) | 2026 Berlin Intl. Film Festival Review
Far From Home: Stänicke’s Direction Leaves the Audience Marooned
How does one define their own home? Is it the place we were born? The place...
The Blood Countess | 2026 Berlin Intl. Film Festival Review
There Will (Not) Be Blood: Ottinger Returns with Anemic Vampire Comedy
New German Wave legend Ulrike Ottinger returns with her long gestating project The Blood...
Truly Naked | 2026 Berlin Intl. Film Festival Review
Father Knows Best: Intimacy Cuts Deepest in d’Ansembourg’s Debut
“When porn has become the norm, intimacy is the new taboo,” reads an early tagline for...
Nina Roza | 2026 Berlin Intl. Film Festival Review
Father Figure, Mother Tongue: Dulude-De Celles Curates Reconciliation
It turns out you can go home again…but don’t expect not to confront psychic wounds left untended,...
Dust | 2026 Berlin Intl. Film Festival Review
Corporate Cannibals: Blondé Underwhelms with Ethical Reckoning
There’s an interesting idea behind Dust, which finds two Belgian entrepreneurs essentially navigating their last two days of...
Rose | 2026 Berlin Intl. Film Festival Review
A Self-Made Man: Schleinzer Explores the Privilege of Pants
If there’s a trough line (beyond the eponymous titles) of Austrian director Markus Schleinzer’s films, it’s...
Salvation | 2026 Berlin Intl. Film Festival Review
Hysterical Intervention: Alper Gets Overwrought Exploring Tribalism
The land dispute at the center of Emin Alper’s latest film Salvation has all the trademarks of a...
Rosebush Pruning | 2026 Berlin Intl. Film Festival Review
The Killing of a Sacred Dogtooth: Ainouz Paints with Contempt
Karim Aïnouz doesn’t so much eat the rich as he does regurgitate them in his...
Nightborn | 2026 Berlin Intl. Film Festival Review
Only Mothers Left Alive: Bergholm Tackles Motherhood Malaise
Finnish director Hanna Bergholm adds to the subgenre of motherhood body horror with Nightborn (Yön Lapsi), an arguably...
Dao | 2026 Berlin Intl. Film Festival Review
Family Rituals: Gomis Goes For Broke in Sprawling Epic
With his first narrative feature in nearly a decade, French-Senegalese director Alain Gomis formulates a complex...
Everybody Digs Bill Evans | 2026 Berlin Intl. Film Festival Review
A Jazzman’s Blues: Gee Strikes the Right Chords in Tender DocudramaE
British filmmaker Grant Gee, heretofore best known as a documentarian of various musical artists,...
Yellow Letters | 2026 Berlin Intl. Film Festival Review
How to Beat the High Cost of Fascism: Çatak Flounders in Blaring Treatise
Following his Academy Award nominated The Teacher’s Lounge (2023), Turkish-German director Ilker...
In a Whisper | 2026 Berlin Intl. Film Festival Review
A Death in the Family: Bouzid Explores the Tolls of Open Secrets
What’s most expertly encapsulated in Tunisian filmmaker Leyla Bouzid’s third feature In a...
I Understand Your Displeasure | 2026 Berlin Intl. Film Festival Review
In the Realm of Defenses: Friedrich Examines Turmoils of the Working Class
Even in the democratic and social federal state of contemporary Germany, all is...
Iván & Hadoum | 2026 Berlin Intl. Film Festival Review
Love Audit: de la Rosa Defies the Odds with Star-Crossed Lovers
Much like the shifting ideals and hard won identities defining the protagonists of Ian...
No Good Men | 2026 Berlin Intl. Film Festival Review
Up Close & Personal: Sadat Subverts the Spotlight in Stellar Melodrama
In her third directorial feature, No Good Men, which is part of a five...
How to Divorce During the War | 2026 Sundance Film Festival Review
Invisible Missiles: Blaževičius Offers Chilly Portrayal of a Couple & Country in Crisis
Given its title, Andrius Blaževičius’ third outing, How to Divorce During the...
Sirat | Review
A Bridge Too Far: Laxe Enters the Zone
“The Zone wants to be respected. Otherwise it will punish.” Aleksandr Kayadonvsky’s line from Tarkovsky’s existential sci-fi...
Pillion | Review
Sit & Deliver: Lighton Assumes Positions in Titillating Debut
There’s a melancholic seductiveness to Pillion, the directorial debut of Harry Lighton, based on the 2020...
Sound of Falling | Review
Women on the Verge of a Nervous Breakdown: Schilinksi Paints a Microcosm of Misogyny
The original title of Mascha Schilinski’s sophomore feature was The Doctor...
Maldoror | Review
Investigation of a Citizen Under Suspicion: Du Welz Revisits Bungled Belgian Murder Case
“It is grand to contemplate the ruins of cities; but it is...
Young Mothers (Jeunes mères) | Review
Bonjour Tristesse: The Dardenne Bros. Explore Teenage Pregnancy
In their latest neo-realist exercise on plights of the disenfranchised, the Dardenne Bros. return to gentler themes...
The Testament of Ann Lee | Review
Shake It Up: Fastvold Envisions the Life’s Work of a Religious Leader
There’s a fervor roiling beneath the surface of Mona Fastvold’s third feature, The...
No Other Choice | Review
Slay the Competition: Chan-wook Explores the Horrors of Capitalism
In many ways, Donald Westlake’s 1997 novel The Ax feels more relevant than ever, which is...
The Voice of Hind Rajab | Review
In a Child’s Name: Ben Hania’s Grueling Portrait of Genocide
It’s the responsibility of artists to use their platforms as a mechanism to speak truth...
Resurrection | Review
In Dreams: Gan Explores a Century of the Cinematic Syndrome
We are such stuff as dreams (and celluloid) are made on, according to the sumptuous...
Little Trouble Girls | Review
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...
La grazia | Review
The Long Goodbye: Sorrentino Returns to Familiar Remembrances of Things Past
Paolo Sorrentino reunites with his onscreen alter ego Toni Servillo in La Grazia for...
The Secret Agent | Review
Mischief, Thou Art Afoot: Filho Captivates with Seductive, Furtive Period Thriller
Pregnant with dread and jam-packed with homage to the tone and time of sweaty,...
Reflection in a Dead Diamond | Review
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...
Sabar Bonda (Cactus Pears) | Review
Ripe Fruits: Kanawade Taps the Bittersweet Rind of Going Home Again
While there’s been an uptick in contemporary LGBTQ+ films from India over the past...
Sauna | Review
Love Me If You Dare: Broe Explores Love in a Hopeless Place
Harlan Ellison’s publication Love Ain’t Nothing But Sex Misspelled might be a more...
Interview: Alireza Khatami – The Things You Kill
For his second feature film, Toronto-based Alireza Khatami tackles masculinity, shame, and the violence passed down through generations. A haunting, psychologically layered drama that...
The Things You Kill | Review
A Poison Tree: Khatami Deconstructs the Psychoses of Patriarchy
For his third feature, Iranian American director Alireza Khatami formulates a powerful psychodrama unspooling through the...
Sentimental Value | Review
Life as a House: Trier Turns Broken Hearts Into Art
In Woody Allen’s Interiors (1978), an unhappy tale of three sisters contending with their parents’...
Nouvelle Vague | Review
Make Me Lose My Breath: Linklater Meddles in Manicured Homage
It’s unclear what the exact purpose of Nouvelle Vague is meant to serve, other than...
Bugonia | Review
When Will They Ever Learn?: Lanthimos Turns to Eco-Horror
Yorgos Lanthimos embarks on his first remake with Bugonia, a loose adaptation of the 2003 Korean...
It Was Just an Accident | Review
Phantom Limb: Panahi Treads Ripples of Retribution
Jafar Panahi continues to poke the bear with It Was Just an Accident, his latest being another film...
Ballad of a Small Player | Review
Out Of Luck: Colin Farrell Can’t Save This Tale Of A Gambler Gone Bust
Is Edward Berger hard of hearing? That might be the first...
The Hyperboreans | Review
From the Land of Ice and Snow: Cocina & Leon Pursue Hermetical Cinematic Spell
To say the latest feature from the experimentally inclined Chilean directing...
The Ice Tower (La Tour de Glace) | Review
Hearts of Glass: Hadžihalilović Casts a Wintry Spell
A chilly scene of winter unfolds in La Tour de Glace (The Ice Tower) at a glacial...
Another End | Review
The Power of Goodbye: Messina Gets Maudlin with Future Grief
The devil’s unfortunately absent in the details of Another End, a conceptual science fiction melodrama...
The History of Sound | Review
One Sings, the Other Doesn’t: Hermanus Plays a Tune for the Broken Hearted
“Happiness doesn’t tell stories,” is a sage observation uttered in The History...
The Fence (Le Cri des Gardes) | 2025 Toronto Intl. Film Festival Review
Cri du cœur: Denis Delivers A Boiling Colonial Drama Dripping With Sexual Tension
A border is simply a line on a map. A fence is...
Dreams (Sex Love) | Review
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...
