The latest from Karyn Kusama is a brutal, hard film, never surrendering to a cathartic moment of softness we secretly crave.
Peter Strickland’s hilarious fashion-centric horror-comedy is one of the most stylistically ambitious and genuinely overwhelming movies in recent memory.
Emily Atef’s extraordinarily moving Romy Schneider biopic argues fervently against the simplistic media image of the actress.
Mani Haghighi’s latest is the rare film that has the ability to remain eerie and abstract without becoming vague or untethered, and further evidence that Iran is one of the leading national cinemas when it comes to experimenting with film genre.
José Pedro Lopes’ art-horror offers glimpses of the extraordinary, even if there is a lot of clutter.
Simon Rumley’s fashion thriller dives into the subjectivity of loss, trauma and physical sensation.
Kiyoshi Kurosawa’s first international co-production is a ravishing affair.
The feature debut of Turkish director Can Evrenol turns the corruptions of masculinity into a brutal and meaningful horror tale.
The Blaine brothers turn in the year’s most emotionally intelligent horror film with NINA FOREVER.