France
In the Shadow of Women is alluring in its presentation, but ultimately doesn’t have much to say about infidelity and relationships.
After Love thrusts you into the middle of a domestic war zone. Thanks to the claustrophobia and heightened tension, there are very few moments in the film that aren’t fraught with emotion; whether it be fury, devastation, or even, on occasion, love (or at least what’s left of it).
In this version of Marivaux’s play False Confessions there are laughs to be had, but its adaptation to modern day makes it a confusing watch.
Though appearing to be another of those aging romantic dramas, The Country Doctor is instead refreshingly heartwarming and impactful.
The best thing about Footnotes is that it’s just 78 minutes. But there are so many other, better ways you could spend your time.
Love at First Child offers nothing new in the romantic comedy genre, but some laughs and chemistry between the leads make it a pleasant watch.
The characters in her films don’t say much, but Claire Denis still manages to create worlds where communication arrives in other forms.
Moka is a French slow burning drama that occasionally conjures some suspense, which makes it fascinating in its own way.
Pickpocket (1959) is an intricately staged, intimate character study from Robert Bresson – solidifying itself as one of his greatest works.
In the Shadow of Iris has inklings of greatness, but it suffers from a muddled plot and some questionable casting and production choices.
An open mind and a willing heart are needed to appreciate Slack Bay’s zaniness; it’s a lot of fun when the initial peculiarities settle.
A Woman’s Life shows the hardships women endure throughout their lives relentlessly and without optimism, and is depressing as a result.
We take a look at Chantal Akerman’s Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles, which deals with the mundane in a truly unique way.
After the Paris terrorist attacks, two aerial artists worked tirelessly to spread a message of hope. This short film, Art Of Courage, details their story.
Julia Ducournau’s debut RAW doesn’t deserved to be labelled as “barf bag” cinema, as this is one of the best horror debuts in recent memory.