France
The Crow struggles to connect with audiences due to its lack of compelling character development and chemistry.
Both The Assessment and Emilia Pérez demonstrate the versatility of a festival like TIFF, which is always inclusive of all genres and subgenres of cinema.
On this TIFF report, Kristy Strouse reviews The Mother and the Bear and Shepherds – two unforgettable films on a path to self discovery.
Both The Substance and The Last Showgirl evaluate mortality by leaning on their respective stars’ relationship with celebrity in real life.
Girls Will Be Girls is a powerful examination of how the patriarchy continues to punish girls/women for pushing back against the narrow roles prescribed.
The Melbourne International Film Festival is in its 72nd year with a program of global features, shorts, documentaries, VR experiences, and classic movies.
Mars Express finds the right words and plucks the precise emotional heartstrings to make such a film more meaningful.
A powerful and poetic debut feature, Banel & Adama signifies Sy as an exciting young artist to watch in world cinema.
From Cannes Film Festival Wilson Kwong reviews Payal Kapadia’s Grand Prix winning All We Imagine as Light and Rúnar Rúnarsson’s When the Light Breaks.
From Cannes Film Festival, Wilson Kwong reviews
Magnus von Horn’s The Girl with the Needle and Agathe Riedinger’s Wild Diamond.
Jonathan Millet’s Ghost Trail and Guan Hu’s Black Dog both tackle serious subject matter with subdued restraint.
At Canne’s 2024, Film Inquiry reviews Quentin Dupieux’s The Second Act (Le Deuxieme Acte), and Rungano Nyoni’s On Becoming a Guinea Fowl.
The Beast is about a man beset with loneliness and fears of a fatalistic event likened to an unseen beast haunting him.
Club Zero is often disturbing and always engaging, but it’s certainly not for everyone.
Disco Boy doesn’t quite work, though thanks to some quality craftsmanship and the always-fantastic Franz Rogowski, it does come close.