Sooner or later, conversations around the ever-growing oeuvre of Hong Sangsoo all land on the same word: repetition. That's kind of inevitable: few could e...
If period filmmaking's credibility can be measured by the audience's ability to imagine said person scrolling on an iPhone, Markus Schleinzer deserves reco...
Last week, the jury president of the Berlin Film Festival claimed that this year’s edition would provide an “opposite” to politics. If such a thing exists,...
To belong to the diaspora is to inhabit a paradox: a state of in-betweenness, neither fully inside or outside one’s home and adoptive countries. Films tryi...
It’s rare for a film as good as First Light to slip through the cracks of the major festivals. This debut feature from Filipino-Australian director James J...
Spoiler culture may be one of the lowest forms of film conversation, but there are times when it simply must be invoked. This is to say that Nirvanna the B...
In a stray moment during Charlotte Zhang’s Tycoon, a young man says he stopped complaining to his landlord about the cockroaches invading his L.A. flat les...
Note: This review was originally published as part of our 2025 Cannes coverage. Pillion opens in theaters on February 6.
It wouldn’t be Cannes without a...
Note: This review was originally published as part of our 2025 Cannes coverage. Sirat opens on February 6, 2026.
For the French-Spanish filmmaker Oliver...
Note: This review was originally published as part of our 2025 Cannes coverage. The President's Cake opens in theaters on February 6.
Among the best thi...
