2020s
Conclave and We Live in Time are prime examples of solid filmmaking, that will likely be successful regardless of what accolades they end up garnering.
An unexpected and comical disclosure of one couple’s path, Paying For it leaves a lingering impression.
The Way We Speak is a formidable and ambitious drama that shows the power of words.
Wala has crafted a fine story, and impresses in his feature film debut with the TIFF film: Shook.
For his first report from Toronto International Film Festival, Wilson Kwong looks at two films based on true events.
Look Into My Eyes, the new documentary, looks at another way many people seek connection: appointments with psychic mediums.
The Melbourne International Film Festival is in its 72nd year with a program of global features, shorts, documentaries, VR experiences, and classic movies.
Red Rooms is hypnotic, eerie, enticing, and undeniably repulsive, a procedural with the stifling rhythms of an addiction story or a dream.
I’ll Be Right There showcases family drama and how, within that drama, there can be something to laugh and feel good about.
The “time loop” is a sci-fi cliché as old as the genre itself, but “Omni Loop” tries to put a new spin on the genre.
Nostalgia aside, Álvarez also has a knack for elaborate production design in addition to building intense action sequences and engaging characters.
Anna Kendrick directs and stars in the ridiculous true story of a serial killer who won a date on a TV game show mid-killing spree in “Woman of the Hour.”
The Becomers politely reminds us that being a human is fundamentally weird–– and yes, being a human in 2020 was especially weird.
If “Kraven the Hunter” can balance its identity and its obligations to the superhero genre, this film could find a spot in Marvel’s superhero box set.