France
Climax is an oddly boring affair, that shows Gaspar Noe has little of substance to offer when divorced from more offensive subject matter.
The English language debut of iconic French director Claire Denis is thematically dense and transgressive, designed to provoke intense debate.
As much as Ulysses & Mona can be a pleasant watch, and as much as Issa and Cantona gel with each other, it lacks a solid foundation.
Memoir of War is at its best when focusing on the inner life of its protagonist – but even she can’t prevent it from feeling unnecessarily drawn-out.
Less a documentary, more an arthouse examination of a tennis great, Julien Faraut’s John McEnroe: In The Realm Of Perfection is a true original.
It’s been almost a decade since the release of Agnès Varda’s last film, and even though her newest entry, Faces Places, is only slight, it’s still completely worth the wait.
Xavier Gens’ science fiction fantasy Cold Skin is a hotbed of promising concepts. The problem is, it doesn’t know what to do with them.
With a failure to properly establish the story, is a black comedy that is consistently frustrating and close to devoid of any laughs.
With Jeune Femme, writer/director Léonor Sérraille has captured a painfully realistic story – with an unforgettable performance at the centre.
In Films of The New French Extremity, Alexandra West studies French horror films which are known for graphically brutal depictions of sex and violence.
On the eve of its 50th anniversary, Claude Berri’s autobiographical drama The Two Of Us remains as heartwarming as ever, offering a look at one of the greatest conflicts in history and the prejudices it triggered through a child’s eyes.
It may sound like exploitative torture porn, but Revenge introduces director Coralie Fargeat as a filmmaker worth your attention – taking problematic genre tropes and subverting them into a vital, exhilarating feminist film.
Director Claire Denis is choosing a more diverse range of film projects than any other time in her career – and it’s best exemplified by Let the Sunshine in, a romcom that subverts genre expectations on the hunt for true love.
Both The Night Eats the World and Cargo, despite their differing subjects and approaches, manage to bring both meat and brains to the zombie film.
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.