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.
Directors Jarius McLeary and Gethin Aldous document a four-day therapy session inside Folsom Prison with THE WORK, a beautiful film with a willingness to step into fear to find a raw, unremitting beauty in the witnessing of healing.
The pairing of animator Claude Barras and screenwriter Céline Sciamma results in a wonderfully moving film about anxiety and community.
Bruno Dumont engages in a restless confrontation with the historical drama in his delightfully rewarding JEANNETTE, a musical biopic about Joan of Arc.
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.
Amit Masurkar’s darkly comic NEWTON is a brilliantly pointed take on Indian democracy.
The War Show will linger as a bloodied testament to the loss and sacrifice faced by those forced into diaspora.
Cláudia Varejão’s documentary on female Japanese shellfish divers comprises moody, living tableaus that capture informal portraits of the ama and their families.