A24
Waves is an exquisitely crafted piece of art that solidifies Shults as a force to be reckoned with.
The Death of Dick Long might easily be the most bizarre film of the year, but it’s also one of the funniest.
A film that is not enjoyed so much as processed, Midsommar is a rare experience that is not to be missed. That being said, you absolutely cannot skip it.
The Souvenir is a refreshingly honest look at first love, class and privilege and includes a great performance by Honor Swinton Byrne. Janet Lee reviews.
The Farewell reveals Lulu Wang is a director to watch out for, but loses impact by leaving so many of the themes it wishes to explore unspoken.
The Last Black Man In San Francisco is a deeply moving film, and probably the best film with San Francisco as its backdrop.
What happens to those without resources to evacuate a dying world? John Stanford Owen examines life and humanity in High Life.
A24’s films have produced countless conversations amongst Film Inquiry writers – here, they pick their favourites from the studio.
While Gloria Bell might be almost a carbon copy of 2013’s Gloria, the film demonstrates how much Sebastián Lelio has evolved as a director over the past six years.
The Hole in the Ground is the rare film which would have benefited from being less subtlety and amping up the craziness to achieve the desired sense of unease.
While a bit rough around the edges, Under the Silver Lake is one of those films that you’ll be lucky to experience even in light of its flaws, and stands as an astounding sophomore effort.
In a decade over-saturated with cheap nostalgia, it is a delight to see a film about the 90s that doesn’t try to be about the 90s; Mid90s tells a timeless story of self-discovery.
Despite the attempt to be original with a subtly spooky fogginess, Slice is a sluggish creation, doling out little bits of plot information at an unhurried pace.
The English language debut of iconic French director Claire Denis is thematically dense and transgressive, designed to provoke intense debate.
Hot Summer Nights’ story is not adequately interesting to justify the legendary tone, and it winds up feeling anodyne when it should feel explosive.