Emily Atef’s extraordinarily moving Romy Schneider biopic argues fervently against the simplistic media image of the actress.
Gustavo Salmeron’s debut documentary succeeds in imparting a vivid and kaleidoscopic image of one woman’s incredible gusto for life;
The Long Season captures the state of suspension experienced in a Syrian refugee camp in Lebanon’s Bekaa Valley with nuance and care, with a pronounced focus on the community’s day-to-day life in the camp.
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.