France
Game of Death is a fun and gore-filled examination of horror and video game conventions that works well in its short runtime.
Almayer’s Folly is a movie that quietly but forcefully acknowledges Chantal Akerman’s feminism, accommodating the racial imbalances with equal space as the gender dynamics.
Guillaume Pierret’s Lost Bullet is a wannabe Mad Max that takes in pride in flaunting its no-nonsense action movie tag.
The Truth is an impeccable and intimate view into the quietly tumultuous relationships between mothers and daughters and the shape they take into adulthood.
Boaz Yakin’s Aviva is an experience not just in the crafting of relationships, but what goes on behind the scenes.
Continuing her revolutionary depiction of real-time, No Home Movie epitomizes every quality that made Chantal Akerman’s cinema so groundbreaking.
Ariane Labed’s Olla tells an important tale of the migration of resourceful, young, Eastern European women into Western Europe.
Alice is a film that should enlighten anybody, because it’s about society as much as it is about Alice herself.
A satisfying slice of sleaze served up on celluloid, Série Noire is a deliciously good watch.
Even if you admire Deerskin’s audacity, its sudden and puzzling conclusion leaves much to be desired.
Carried by Idir Ben Addi’s brilliant performance, Young Ahmed is an intriguing character study of one young man’s fanaticism, though one is still left wanting something more.
The Sonata attempts to be moody, brooding, and dark, only to come off as predictable, cliched, and silly.
Young Ahmed and Corpus Christi both examine religion and its grip on the individual. Soham Gadre reviews both.
The conflicts at the heart of Synonyms will resonate deeply, thanks to Lapid’s deeply personal storytelling and Mercier’s fiery performance.
The Wild Goose Lake’s glaring missteps aren’t enough to sink the film and its overall affect, which remains consistent and engaging throughout.