drama
A powerful and poetic debut feature, Banel & Adama signifies Sy as an exciting young artist to watch in world cinema.
Liu Jian’s Art College 1994 rejects these clichés and instincts, instead seeing youth in the face of art for what it is: blowing a lot of hot air.
From Cannes Film Festival Wilson Kwong reviews Payal Kapadia’s Grand Prix winning All We Imagine as Light and Rúnar Rúnarsson’s When the Light Breaks.
From Cannes Film Festival, Wilson Kwong reviews
Magnus von Horn’s The Girl with the Needle and Agathe Riedinger’s Wild Diamond.
Jonathan Millet’s Ghost Trail and Guan Hu’s Black Dog both tackle serious subject matter with subdued restraint.
It’s truly difficult to qualify the beast of an experience that is Megalopolis, and because of that, there’s an undefinable elegance.
At Canne’s 2024, Film Inquiry reviews Quentin Dupieux’s The Second Act (Le Deuxieme Acte), and Rungano Nyoni’s On Becoming a Guinea Fowl.
With I Saw the TV Glow, Jane Schoenbrun stakes their claim as the preeminent chronicler of those specific horrors inherent in coming of age as a millennial.
Limbo is a fish-out-of-water tale in a barren Outback town.
Imtiaz Ali’s Amar Singh Chamkila takes us through the life of one of the most loved and hated singers in Punjab, Amar Singh Chamkila.
Formerly the realm of big-budget blockbusters, the subgenre of underwater thrillers has been flooded with relentless low-budget pictures.
One of the most painfully lovely films of last year, Monster is a moving reminder of the importance of empathy and understanding.
Directors and fellow actors have come and gone, but Jonas Chernick remains, returning each year to the Glasgow Film Festival with a new cast and crew.
Society of the Snow delivers a powerful narrative that transcends the screen, prompting audiences to contemplate the depths of human endurance.
In this SXSW report, we take a look at two female-driven titles: An Army of Women and We Were Dangerous.