No one moves abroad in Ted Fendt’s Foreign Travel; people walk plenty—mostly around Kreuzberg, Berlin—but the kind of wandering this erudite film is concer...
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 the credibility of period filmmaking can be measured by whether the audience is able to imagine a character scrolling on an iPhone, Markus Schleinzer de...
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...
