Sinead O’Shea’s documentary about paramilitary violence in Northern Ireland makes for devastating viewing.
Nicolas Pesce’s latest works best as a demonic screwball comedy, rather than as an adaptation of the Ryu Murakami novel.
Ingrid Goes West shares the inspiration of an increasingly technology-centered society, offering a different kind of contemporary twist on the thriller genre.
Martin McDonagh’s third feature is his best yet, a sharply observed film about division in America.
Theo Anthony’s debut feature documentary RAT FILM looks at Baltimore through a discursive documentary lens akin to Harun Farocki and Chris Marker.
Pedro Pinho’s narrative debut is easier to admire for the scope of its ambition than it is to necessarily enjoy.
Martin DiCicco’s debut feature documentary follows the day-to-day lives of track workers in Armenia and Azerbaijan.
Alice Lowe’s pre-natal horror Prevenge shies away from biting commentary, content with absurd bloodlust.
To call Peter Vack’s anilingus-filled debut feature film ‘graphic’ would be a gross understatament.
Damien Power’s debut feature harks back to the golden age of Australian genre film but its approach to landscape is sadly ahistorical.