Windless (2024)
“But there is more to those deferrals, stand-ins, and metaphors for paternal absence—there is rawness and optimism in the way Windless paints a double portrait: of a son’s past disappointments and of the man he hopes to be.” –
Reverse Shot
Mar 19, 2025
Full Review
Slow (2023)
93%
“Slow maps out desires and dreams through minute glances, gestures, and silences. Watching it feels like falling in love. ” –
Sight & Sound
Mar 19, 2025
Full Review
Nightbitch (2024)
59%
“[A] snarling, on-the-wet-nose metaphor for parental transformation, but one that this surprisingly tender film puts to good use. ” –
Sight & Sound
Mar 19, 2025
Full Review
The Ugly Stepsister (2025)
96%
“Blichfeldt blends the more brutal folktale elements with phantasmatic longing to create a version of Cinderella where beauty is pain for some women, but life is pain for all of them.” –
Sight & Sound
Mar 19, 2025
Full Review
Blue Moon (2025)
96%
B+
““Blue Moon” would taste like a praline dipped in melancholy... it works as a (very careful) vivisection of nostalgia as it forms a thicker crust around the idealized version of one’s memory. ” –
The Playlist
Mar 5, 2025
Full Review
Two Times João Liberada (2025)
“ Two Times João Liberada is a small treasure that shines brightly.” –
The Film Stage
Feb 26, 2025
Full Review
All I Had Was Nothingness (2025)
“What makes a perfect companion piece out of All I Had Was Nothingness is the way it surrenders to asking the most difficult questions in the deafening silence: the “why” of the Holocaust is hauntingly present.” –
The Film Stage
Feb 20, 2025
Full Review
The Ice Tower (2025)
79%
“The Ice Tower is magnificent to look at, so textured and lavish at the same time; the smooth work of cinematographer Jonathan Ricquebourg (The Taste of Things) ensures longer takes are as glacial as winter terrain. ” –
The Film Stage
Feb 18, 2025
Full Review
Dreams (2025)
82%
“If Memory was deeply romantic, Dreams sets the romance on fire and its flames burn brighter than ever.” –
The Film Stage
Feb 16, 2025
Full Review
Mickey 17 (2025)
77%
B
“There are two things that can break the vicious cycle of violence and exploitation: one of them is love, and the second one is revolution. Thankfully, Mickey 17 offers both. ” –
AwardsWatch
Feb 15, 2025
Full Review
Hot Milk (2025)
33%
“Rarely has maternal trauma been so well-dramatized on the big screen with zest, humor, and genuine appreciation of the ambivalence baked into these relationships. ” –
The Film Stage
Feb 14, 2025
Full Review
Horizon: An American Saga - Chapter 2 (2024)
54%
B
“While the first part was packed with more action and edited in a more belligerent way, this one allows a slowing-down of pace (only a little) so we can get to know those characters better. ” –
The Film Stage
Sep 12, 2024
Full Review
Happyend (2024)
94%
B
“Its propulsion and vivacity comes from the ensemble cast of capable youngsters and is further amplified by a phenomenal score from Brooklyn-based composer Lia Ouyang Rusli. ” –
The Film Stage
Sep 10, 2024
Full Review
April (2024)
94%
A-
“It confirms Kulumbegashvili as an assured visionary unafraid to engage with ambivalence and radical opacity. In other words: a different brand of storyteller. ” –
The Film Stage
Sep 7, 2024
Full Review
The Quiet Son (2024)
50%
D+
“A moderately political story that’s decently acted and very French, this one might have been better suited for VOD instead of the Venice line-up.” –
AwardsWatch
Sep 4, 2024
Full Review
Harvest (2024)
55%
B
“Just as a mapped slice of the land can affect a person, Harvest believes in the power of cinema to reenchant the world.” –
The Film Stage
Sep 3, 2024
Full Review
I'm Still Here (2024)
97%
C
“Maybe if I’m Still Here was framed as Eunice’s life through the eyes of Marcelo, then most of the wide, idealizing brush strokes in this saintly portrait would prove much more permissible. ” –
The Film Stage
Sep 2, 2024
Full Review
Wolfs (2024)
67%
B-
“At the heart of Wolfs sits male loneliness. In its genre-specific form, that is the fixer (and hitman when he needs to be one), a paradigmatic “lone wolf” with no ties, no liabilities, and no feelings.” –
AwardsWatch
Sep 2, 2024
Full Review
Babygirl (2024)
76%
A-
“There is wit, some stinging humor, and a lot of arousal baked into Babygirl, but it all works so well as an exciting, sexy (yes, let’s reclaim this word!) whole because the film pays attention to sex.” –
The Film Stage
Aug 30, 2024
Full Review
Maria (2024)
75%
C-
“Instead of serving as a crescendo to the trilogy, this latest film exposes Larraín’s overall approach as one of a vain auteur, rather than a responsible storyteller, to the peril of three historically significant women.” –
AwardsWatch
Aug 29, 2024
Full Review
Family Portrait (2023)
95%
B
“It’s easy to see Family Portrait as a film about familial dynamics (all of which are similarly complex) and a snapshot of an erratic day (all of which are, when the family gathers), but Kerr unearths something buried much deeper. ” –
The Film Stage
Jun 26, 2024
Full Review
Last Summer (2023)
86%
B+
“As in all Breillat films, affection and attraction are a transformative tandem, but firstly it never lasts, and secondly no one is allowed to leave both changed and unharmed.” –
The Film Stage
Jun 24, 2024
Full Review
The Balconettes (2024)
70%
B+
“The Balconettes is the kind of work Merlant is cut out to make: exuberant, funny, and bold, a real testament to the power of female friendship seen through farce and horror tropes.” –
The Film Stage
May 26, 2024
Full Review
Filmlovers! (2024)
100%
B
“An effervescent walk down memory lane for a director who has helped shape contemporary French cinema for the better.” –
The Film Stage
May 26, 2024
Full Review
It's Not Me (2024)
89%
B-
“While Carax’s cinema has never been overtly political, it has addressed politics in one way or another. It’s Not Me affirms it.” –
The Film Stage
May 26, 2024
Full Review
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