Happyend Review: Neo Sora Poignantly Explores our Responses to an Impending Future

Note: This review was originally published as part of our 2024 Venice coverage. Happyend opens in theaters on September 12. “Something big is about to chang...

Venice Review: Julian Schnabel’s In the Hand of Dante Crafts a Frenzied, Flimsy Adventure for Oscar Isaac and Martin Scorsese

“There is no reason why a kid from a family of gangsters couldn’t be the reincarnation of Dante Alighieri,” reads Julian Schnabel’s director’s statement on his...

Motel Destino Review: Noirish Fever Dream Sparkles with Sweat and Lust

Note: This review was originally published as part of our 2024 Cannes coverage. Motel Destino opens in theaters on August 29. Simply put, Brazilian motels a...

The Balconettes Review: Noémie Merlant’s Self-Assured Take on Comedy-Horror

Note: This review was originally published as part of our 2025 Cannes coverage. The Balconettes opens in theaters on August 22. The chic balconies of Ma...

Harvest Review: Athina Rachel Tsangari Beautifully Renders the Past Present

Note: This review was originally published as part of our 2024 Venice coverage. Harvest opens in theaters on August 1 and arrives on MUBI on August 8. An un...

Wild Diamond Review: Debut Feature Shines Bright, But Deprives Hyper-Femininity from Sensual Core

Note: This review was originally published as part of our 2024 Cannes coverage. Wild Diamond opens in theaters on July 11. From her debut feature, French fi...

Cannes Review: Adam’s Sake is an Empathetic But Uneven Hospital Drama 

Laura Wandel left a lasting impression with her debut feature Playground, a character study of a very young girl during her first school days, and was lauded f...

April Review: Dea Kulumbegashvili’s Second Feature is a Mystical Cinematic Revelation

Note: This review was originally published as part of our 2024 Venice coverage. April opens in theaters on April 25. In this year’s diverse line-up of V...

Berlinale Review: Two Times João Liberada Explores the Limits of Representation

Amongst the debut features populating Berlinale’s new section called Perspectives, none presented so admirably fresh take on fiction and political historie...

Berlinale Review: All I Had Was Nothingness Perfectly Complements Claude Lanzmann’s Shoah

When reading Claude Lanzmann’s 2009 memoir The Patagonian Hare, director Guillaume Ribot was struck by insights into making the monumental Shoah. The book ...