Manic, maximalist, and bristling with postmodern bells and whistles, Labyrinth of Cinema is exactly what its title suggests.
Luzzu retains the structure of a neorealist film, as well as its themes of class and desperation.
Surge’s camerawork may leave viewers feeling like they just stepped off of a merry-go-round.
Memory House makes no secret of its disgust for neocolonialism, capitalism, or fascism.
The film’s disarming romcom sensibilities are an unlikely yet fitting vehicle for timely ruminations on AI.
The film raises pertinent questions about Mexico’s mixed cultural heritage and the contested representation of reality.
It’s thanks to a kind of tug of war between background and foreground that Beckett succeeds as a piece of entertainment.
Mariam Ghani’s documentary spurs audiences to consider the politics that underlies any artistic activity.
With Never Gonna Snow Again, Malgorzata Szumowska presents a charm against both apocalyptic despair and willful ignorance.
Settlers allows for weighty themes to play out inside a cramped domestic setting, wary of easy answers or moral platitudes.
Throughout the film, Agnieszka Holland makes clear that she isn’t interested in easily digestible pop-psychology nuggets.
The film accomplishes a restoration of sorts, allowing us to see how historical objects can confer meaning on a new context.
Jonathan Cuartas’s film vividly diagnoses a sickness of insularity endemic to middle-class America.
In Bad Tales, impending adulthood isn’t treated as a loss of innocence, but something more akin to congenital illness.
The film’s aesthetic, understandably fused with its protagonist’s dogged can-do attitude, is both the source and limitation of its power.
Christopher Smith’s film applies the haunted house trope in unfamiliar ways.
Oliver Hermanus’s film is a rumination on the consequences of apartheid on those who benefit from it most.
Come True offers a glimpse of a world where screens are pores in the boundary between dreams and waking life.
Beneath its perfectly entertaining surface, the film is a mess of contradictions that fails to live up to its own potential.
What distinguishes the film from ordinary journalism, and what constitutes its intervention in reality, is a difference in timescale.