2017
Director Lucrecia Martel’s first film in a decade is an opaque and potentially challenging film that is best appreciated as a purely sensory experience.
Thanks to the funny and occasionally moving performances of Gould and Clement and a confident feature film debut from Hoffman, Humor Me qualifies as a passable entry into the midlife crisis sub-genre.
Redoutable is an irreverent take on the biopic that gleefully flips the bird at its subject, and takes delight in making him conform to a conventional narrative of the type he grew to detest leading to some of the finest moments of cringe comedy in recent memory.
With undefined characters and a hesitation to commit to the violent realism of the story, Spanish historical epic Gold (Oro) proves to be something of a tedious slog.
Samuel Maoz’s Foxtrot toys with our emotions, but that doesn’t mean it lacks any of its own. This is an energetic and structurally audacious jukebox of sensations, prioritising impulse over precision and thought over action.
Casting, director Nicholas Wackerbarth’s meta tribute to Fassbinder’s 70’s masterpiece The Bitter Tears of Petra Van Kant, is a fantastically cringeworthy comedy in the same vein as Toni Erdmann.
As I flip through my senior year high school yearbook, I see the familiar faces…
In the latest of our Take Two series, we tackle Alien: Covenant, the Ridley Scott thriller that tried to balance science fiction with philosophical intrigue.
Watching Claire’s Camera feels like watching a film being made right in front of you with director Hong laying bare his cinematic style in that he doesn’t know where he’s taking us, but he’s just as interested to find out.
With an outstanding return performance from Michelle Pfeiffer, Where is Kyra? may have been sitting on the shelf for a couple of years, but the passage of time hasn’t diluted the sense of thematic urgency.
Director Chloe Zhao follows up her debut film with an outstanding sophomore feature, The Rider, that in a just world would see her get an Oscar nomination for her impactful direction.
Told in just nine powerful takes, this harrowing legal drama from director Kaouther Ben Hania uncompromisingly depicts one woman’s search for justice following a sexual assault in a corrupt, patriarchal society.
Prepare to be charmed by Peter Lataster and Petra Lataster-Czisch’s documentary Miss Kiet’s Children, a heartwarming ode to the power of education, and the reality of the refugee crisis on European shores.
While tiptoeing on the line of empowering and exploitative, Flower is an unconventional teen film for a new generation that finds its true strength in in its leading lady Zoey Deutch.
Paddy Considine’s long-awaited second film in the director’s chair is an emotionally manipulative disappointment, that has replaced the grit of his debut with a stale, maudlin predictability.