Gregory Nussen

Ghost Elephants is an almost diaristic documentary, eschewing normal pathways for a more esoteric exploration of survival, science, intuition and mortality.

Every life is a universe unto itself, and Ricciardi was clearly the kind of unique soul whose spirit enriched everyone around him, but its actually in the margins of this sometimes preening doc that Benna's film really hits its target. When the film rests, it destigmatizes a process that everyone will eventually go through (albeit in a range of ways).

Kontinental '25 is an acerbic film which makes you feel uncomfortable for chuckling your way through it, because by doing so you acknowledge an awkward sense of resonance with the guilty.

It's a beautiful film that entertains in as much measure as it deconstructs an often untouchable icon, making him seem more human, and thus, more impressive.

Brought to life by yet another astounding performance by Olivia Colman and exquisitely shot and designed, Wicker's treasure is in its hopeless romanticism that insists that pure love and adamant individuality can create irrevocable progress through osmosis.

Shuffle is a solid primer for a massive subject, and Flaherty's approach is a maddening introduction to a world that needs massive reform.

Miroirs No. 3 is a bucolic, poetic film of simple beauty with light, magical touches about the ability of a stranger’s love.

The film is a meditative, slow crescendo of wounded feelings and quiet epiphanies.

The film bangs the drum loudly on behalf of American exceptionalism.

In this film of clammy anxiety, the potential of male violence is made to feel as scary as the actual article.

It would be an understatement to say that Dead Lover is unusual. It may be more accurate to call it entirely novel.

Left-Handed Girl is ultimately quite optimistic while never succumbing to the saccharine.

Lord & Miller's film is a remarkable achievement.

What makes The Invite ultimately so special is its unabashed honesty, even when it means doom.

Its approach is so diffuse that its uncertain and purposefully ambiguous ending is misguided at best.

Through her use of recreation, Asmae El Moudir suggests that the act of documentary filmmaking can turn historical truths into fiction, in which everyone becomes an active participant.

In some ways, the film's hollowness allows it to circle back upon itself and become a pure expression of adrenaline.

The film isn’t interested in anything that would detract from providing audiences with the sustained pleasure of watching a clock-ticking thriller.

The Amateur is a relaxed and pleasurable throwback to the spy pulp of the 1970s and ’80s, yet told with a (mostly) honest appraisal of the C.I.A.’s ethical failings.

The film is so well put together, constructed with such warmth, that it does paper over its own indulgence.

Bigelow's film, disconnected as it is from the very people this type of situation would actually harm, is a futile salute towards hope, which unfairly assumes powerful people's positive intentions, underscored here by largely cookie-cutter characters and a lack of complexity.

A soft and gentle hug of a film, one that reifies life's most sacred values while retaining the essential mystery behind our most pressing questions.

Power Ballad continues Carney's long run of success with yet another charmer. Of course, it's easy to charm when you have Paul Rudd as your center.

With bi-erasure and transphobia both ballooning, I Wish You All The Best comes with a strong message of hope: that you, too, can be an awkward, flailing teen. That awkwardness is not exclusive to those who fit a traditional mold, and that we all deserve a chance to mess up.

Air is shot through with an infectious energy, but it’s more poignant for the way that it rhymes the histories of its actors in the public eye with all that Nike’s creatives were struggling to reconcile when they were chasing after Jordan.

Daniel Chong's film isn't perfect, but it reaches such a strange fever pitch of hilarity and political prescience that it demands respect.

It is, ultimately, a film completely uninterested in subtlety. That's both to its credit and to its detriment.

When Ma focuses on the grounded journey of Sara's fish-out-of-water story and the genuine chemistry between her and Sam, the film sings.