2019
Ena Sendijarević’s Take Me Somewhere Nice is a movie most cinema-goers have probably seen before, at least in pieces.
The debut feature from Saudi Arabian filmmaker Shahad Ameen, Scales weaponizes repressed femininity in the…
While Petrunya herself is certainly a figure worthy of veneration, the film doesn’t quite live up to her character.
Funhouse wants to be seen as a clever take-down of violence and reality television but does not quite hit the mark in either area.
For 45 years, the film was believed to be lost, but George Romero’s film has now resurfaced, and The Amusement Park is definitely worth a visit.
Grímur Hákonarson’s The County follows an Icelandic widowed farmer as she fights beauracratic corruption and injustice.
Karl Holt’s Benny Loves You is a madcap feature debut that toys with a man-child’s inability to let go of childhood.
While lavish historical dramas laden with European accents are increasingly out of vogue with moviegoers, Queen Marie isn’t without its charms.
With About Endlessness, Roy Andersson once again weaves together short vignettes that uncover the intricacy and vulnerability of the human condition.
Better Days often feels like an extremely bleak after-school special. But thanks to remarkable performances, it’s worth sticking with to the bitter end.
This is Not a Burial, It’s a Resurrection is just more proof that the most exciting and impactful films being released today are coming out of Africa.
Attempting to fit a lifetime of legendary adventure into a two-hour film, Amundsen: The Greatest Expedition doesn’t manage to tell us that much at all.
In its styles, structures, and personal relationships, Listen to the Universe does the rare feat of turning a competition against itself.
Wearing its influences on its sleeve and a love letter to horrors of the past, Awoken is a sharp little horror movie with bite and shocks.
The Vigil finds success in its intricate and delicate layering of its narrative, giving time for viewers to digest each tidbit given.