Neon
If Neon can stick the landing, The End has potential to be a breakout indie hit and a generational film of 2024.
Broker may not reach the heights of its predecessor, but it is a lovely depiction of a found family brought together in the strangest of ways.
Jonas Poher Rasmussen’s Flee uses animation as a form of therapy for both its central subject and the audience.
Titane spins elements of body horror and science-fiction into a beautiful tale of love and identity, grounded in true human emotion.
Céline Sciamma’s Petite Maman follows a young girl exploring her mother’s childhood home and finding another girl in the surrounding woods.
Robert Machoian’s The Killing of Two Lovers is an upcoming marriage drama starring Clayne Crawford, Sepideh Moafi, and Chris Coy.
Sparing us a heavy-handed lecture, Gunda shows us why we should value animals for more than just their meat, and is all the more powerful for it.
That’s one of the great joys of Memories of Murder. From purely a storytelling perspective, it synthesizes together something totally compelling.
The movie itself may not linger in the minds of viewers, but Moss’ performance almost certainly will.
Amy Seimetz’s sophmore directorial effort is full of great performances, but never engages with the premise enough.
Shirley, as a story, can be unpacked in layers and layers and layers. It’s elegantly built and complex in its structure.
Spaceship Earth is a colossal bore, a failure of documentary filmmaking.
The Lodge is inventive, it’s clever and it’s pretty damn spooky. If you’re a horror fan, don’t let this one slip under the radar.
Bong Joon-ho has put together an intricate, multi-layered portrait of inequality and class. At the same time, he keeps the experience fun and intoxicating.