Film of the week: Evil Does Not Exist
The Japanese director behind 2021’s Drive My Car delivers a beautiful and contemplative eco-drama that ends with one of this year’s most harrowingly haunting endings.
The Japanese director behind 2021’s Drive My Car delivers a beautiful and contemplative eco-drama that ends with one of this year’s most harrowingly haunting endings.
Alex Garland divides opinions, and America, in a nihilistic war fantasy. And the surprise Spanish animated Robot Dreams is a charming piece that both breaks and…
This week, an action film and a serious drama about the nature of institutionalised racism. One set to be a modern classic, the other no…
Prolific French filmmaker François Ozon’s new film relies on Isabelle Huppert to elevate its charm, but misses a chance for a perfect crowd-pleaser.
Gareth Edwards escapes the Star Wars Universe to bring a new, original and exciting sci-fi romp aimed to please everyone yearning for new original stories….
Kenneth Branagh’s third Poirot feature is a fun gothic whodunit that gets to elevate the original story but, more importantly, liberate the filmmaker from his…
An impressive feature debut, Scrapper charmingly merges the British tradition of ‘kitchen sink drama’ with magic realism.
Celine Song’s feature debut is a worthy successor of Before Sunrise and Lost In Translation. Heartbreaking and beautifully acted, but it is Song’s direction that elevates…
Between dog whistles and support by some controversial people, Sound of Freedom’s biggest problem is its dullness.
On his third feature, Icelandic filmmaker Hlynur Pálmason steps up his game in a beautiful but bleak meditation on the destructiveness of masculinity against an…
For his eleventh feature, Wes Anderson uses all the tricks to prove he’s not losing his sentimental and visual playfulness.
The new Australian cult horror film delivers the goods but falls short of brilliance.
It is the long-awaited double-bill of the year from two acclaimed-filmmakers: Barbie versus Oppenheimer.