drama
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.
Had Reality been released today, it likely would have attracted more eyeballs to what is truly a fascinating film.
By the final image of The Promised Land, we’ve been taken on an epic adventure, and in our heart of hearts, we are sated by the sweep of it all.
Club Zero is often disturbing and always engaging, but it’s certainly not for everyone.
Origin is an incredible, and powerful, insight into a theory of human behaviour that is both fascinating and troubling.