France
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.
The Beast is about a man beset with loneliness and fears of a fatalistic event likened to an unseen beast haunting him.
Club Zero is often disturbing and always engaging, but it’s certainly not for everyone.
Disco Boy doesn’t quite work, though thanks to some quality craftsmanship and the always-fantastic Franz Rogowski, it does come close.
While Gothika may not have stood the test of time, or have the most plausible horror narrative, it delivers an eerie watch.
Horror films have trained us to expect the final girl, but Funny Games does not acknowledge this hope and desire for survival.
For Monro’s Kubrick on Kubrick, decoding Kubrick’s films with the director’s own words serves as an excellent chance to write his own artful tale
Apolonia Apolonia manages to paint a fairly engaging portrait of an artist discovering the intimate balance between success and her freedoms as an artist.
The intense, empathetic storytelling of Inshallah A Boy will keep you emotionally invested up until the very last frame.
While The Crime is Mine doesn’t reach the lofty heights of the classic comedies that influenced it, it’s all too easy to enjoy such a screwball vision.
Love Actually is as heartwarming as it is quotable – the experience of love and joy a permanent staple each and every year.
From New York Film Festival, Lee Jutton reviews La Chimera and About Dry Grasses!
Science fiction is a lot harder than it looks. On one end, the writers and…
The Origin of Evil is a slow-burning, deliciously dark, and comical thriller with layers to savor.
Eyes Without a Face packs some surprises that hold even in the face of time.