Belgium
An over the top, aimless blunder of foolery, Dreamland is remarkably disastrous yet instantly forgetful.
Continuing her revolutionary depiction of real-time, No Home Movie epitomizes every quality that made Chantal Akerman’s cinema so groundbreaking.
Carried by Idir Ben Addi’s brilliant performance, Young Ahmed is an intriguing character study of one young man’s fanaticism, though one is still left wanting something more.
Atlantics tells the story of the women who are left by their men as the latter migrate to seek work, and it tells that story beautifully.
Kursk is an emotional drama based on real events. Thomas Vinterberg shines a light on the tragedy from within the sea and from the land.
Lukas Dhont’s directorial debut, Girl, is one of the year’s most irresponsible films, and could have a negative impact on younger trans viewers.
After failing to get the film out of production hell for so many years, it’s no surprise The Man Who Killed Don Quixote feels world weary and cynical.
Let the Corpses Tan is an exhilarating and original work of wild genius that we’ve come to expect from directors Hélène Cattet and Bruno Forzani.
Nico, 1988 from director Susanna Nicchiarelli respectfully marks the 30th anniversary of the late singer’s death while attempting to restore a little of her legacy.
An exhausting watch, Racer and the Jailbird never figures out which direction it wants to go in, never forging a true sense of character.
Whilst much of the conversation in the Western world is about the resettlement of Syrian refugees in Europe, Insyriated reminds us of those who can’t even leave their own homes.
The Big Boys’ Playground by Guillaume Lion paints rock climbing as a finely detailed, balanced, and makes the sport that more intriguing.
In an industry famously inhospitable to women, Agnès Varda has been quietly and consistently surpassing expectations, for more than five decades. This is our guide to the legendary Godmother of French New Wave cinema.
Though with no dialogue, The Red Turtle is a profoundly moving work of art, culminating in one of the better animations in recent memory.
Almayer’s Folly is deeply artistic and clearly rooted in Ackerman’s vision, but unfortunately due to a lack of characterization, it’s hard to sympathize with any of the characters.