Nicholas Bell

Saleh’s script seems to be beating around the veritable bush for nearly two hours before it slams into violent gear, which effectively snaps the audience into a whiplash, but would have felt more effective had it arrived sooner. A tighter edit would greatly reduce the aimless, meandering quality, especially since multiple scenes regarding the film’s shoot also, by the nature of their falseness, feel flat.

Lifting directly from Camus’ prose in the final throes, Ozon’s take on The Stranger effectively administers the source’s intentions—and clearly, there is a point, even if Meursault himself would reject it.

Simple, sweet, and perhaps a bit too disarming, familiar stakes and an ambiguous resolution make DJ Ahmet feel more mundane than it should.

In many ways, Living the Land plays like the fictionalized version of moments in Wang Bing’s Youth trilogy, particularly in communal moments of intersecting realities. It’s a familiar human story, yet one which carves out its own fierceness as seasons change, life goes on, and new generations must contend with being unable to inherit the fruits of their parents’ toils.

While The Blue Trail ends on a tenuous note, it envisions a troubling, slippery slope of a future which doesn’t seem inherently unimaginable.

At a point in time, a film like Two Prosecutors would seem like an old fashioned recapitulation of a dark, disastrous period we’d safely moved away from. However, it’s difficult not to see crystal clear parallels, on an operational level at the least, with NKVD, an agency operating with complete autonomy, and something like the newly minted monstrosity DOGE in the US.

Guilt certainly becomes her, and the narrative, which consists mainly of a handful of one-on-one interactions, yields often funny, sometimes surprising results.

Destined for instant controversy and an eventual time capsule documenting Israel’s normalizing of barbarism, Lapid’s latest is an admonition of almost shocking import, an increasingly rare example of modern art speaking truth to power.

In the world of Franco, humankind always resorts to base brutality, and this is a hemorrhaging revenge film suggesting the cruelest crimes are those of the heart.

Rosi approaches obscured angles of Naples, going above and below, inside and out.

One’s familiarity with similar agonized portraits of motherhood may dictate how novel Nightborn might seem, though it’s lonely, traumatized Sara who makes one want to stay until the end credits.

If there’s any need to make another film about despicable, beautiful, filthy rich monsters, at least decide what, if anything, might be of interest to say. If families are rose bushes needing pruning, then so are scripts.

Hüller is quite exceptional as the disfigured human grimly determined to succeed, sacrificing pleasure and comfort for control.

What’s shocking is how rough hewn the characters and sentiments are in Yellow Letters considering Çatak’s laser sharp focus in The Teachers’ Lounge.

Perhaps a bit more mainstream than might be expected from the distinctive human miseries usually employed by du Welz, Maldoror is an enjoyably meaty recuperation of an infamous scandal.

Arguably, there’s nothing innately wrong with Young Mothers, other than it feeling like a return to safer socio-cultural predicaments which characterized the directors’ earlier output, which often involved children.

Ultimately, The Testament of Ann Lee feels like Willa Cather’s version of The Witch (2015).

Strange yet familiar, ending on a wistful note to the crooning of Anika, a favored artist of the director, the strange pain associated with not living up to the conditioned expectations of our prescribed roles is exactly what makes Father Mother Sister Brother feel poignant.

While it contains powerful imagery, Gornostai isn’t digging too deeply into the mechanics of the education system, more so showcasing the resilient evolution of a besieged population.

Chan-wook takes his time in unwinding his devious tale, a masterful neo-noir about following dangerous fantasies to their logical conclusion in job markets further compromised by a dependence on AI.

Certainly, Sorrentino does ask questions worth pondering. But the corresponding answers are often monosyllabic.

Djukić is profoundly interested in capturing the tormented process of women’s sexual experiences, shaped by the restrictions imposed upon them by society, religion, and each other.

It’s a film about learning how to navigate the fulfillment of our needs or the procurement of meaningful connections.

As a sumptuous visual spectacle shot by the formidable DP Manu Dacosse, it’s a labyrinth worth getting lost in

Elegant, moody, and intense The Secret Agent mines through the rubble of the past, reconstructing the beauty and terror of a time long gone but still haunting the present.

Layered, almost kaleidoscopic metaphors evolve through religious and politically minded themes, and the end result feels like a Gaspar Noe adaptation of Joseph Conrad’s Heart of Darkness.

Dedicating the film to his sisters, Khatami dives into the toxic attachment styles fostered and reinforced through repressive gender roles in a traditionally heteropatriarchal culture, where the absorption of oppression cements endless intergenerational trauma. But Khatami explores the aftermath of a reckoning, the consequences of which prove to be significant.

Hypnotic and transfixing, it’s a film experience demanding marination, only bothering to explain itself in stops and starts, like an amnesiac slowly puzzling together constantly shuffled memories.

Between tidbits of enjoyable banter, Baumbach stages some of the most comically tone-deaf moments of his career.

Essentially, Linklater is applying his own hangout tableaux to the New Wave alumni. But it fails to capture the energy of what exactly made them such trailblazers.

Lawrence is exceptional, and as committedly bleak as the film is, her empathetic portrayal allows this to feel less like miserabilism and more like an honest depiction of a woman who feels indefinitely trapped.

Where Sentimental Value tends to feel somewhat overwhelmed is with an extensive amount of running time spent on the fussiness of Borg’s production with Rachel, treating us to publicity (the film is being financed by Netflix), which sometimes bogs down the pace and distracts us from the beating heart of the film.

In essence, Cactus Pears is about taking the time to search for meaningful fulfillment, which means not holding your discoveries hostage to a future no one can predict.

Ultimately a tad tiresome even with a slim running time of seventy-four minutes, Fire of Wind suggests Mateus has the eye of a formidable filmmaker, but the narrative feels like more of a concept than statement.

Arguably less sensational and surprisingly straightforward, it’s another expertly crafted bit of bizarre theatrics from an auteur who remains fascinated with exploring characters struggling to comprehend situations from obscured vantage points, puzzling skewed realities together often too late to avoid disaster.

Ducournau applies all the tricks of the trade to convince us of greater meaning.

Compared to Reichardt’s greatest hits thus far, it’s her least compelling presentation of a solitary, melancholic character to date.

While this is vastly better than the B-grade action franchise generated by Olympus Has Fallen (2012), the fatal error of the film exists in its structural foundation.

At times startlingly funny, If I Had Legs I’d Kick You is arguably familiar in scope. But for all its dysfunctions, discomfort and disrepair, it’s also relieving in its relatability to how exhausting it can be when you’re actually living through the experience of ‘rolling with the punches.’

In many of Panahi’s past films, along with many Iranian artists working within the confines of a brutal regime, his cinema has been coded and metaphorical (though clearly not enough to avoid extreme censure). But this time, there’s no doubt with this explicit critique, which utilizes a familiar narrative formula but has the potency of a poison pen letter aimed to slash through the debilitating censorship demanded of auteurs expected to exist as prisms of propaganda.

Blue Moon provides us with a myriad of its own words with which to approach the essence of Lorenz Hart, who it would seem, died much too young and without a love of his own. But the lasting impression of the film and its subject is, indeed, ineffable.

While Del Toro’s version isn’t without some slights, as the saga’s momentum eventually begins to deplete under the significant running time and Alexandre Desplat’s score feels as if its skirting into Danny Elfman territory, this is an elegant reincarnation of Mary Shelley’s original horror novel, and to paraphrase her words, the film is a ‘creature of fine sensations.’

The set-up is familiarly threadbare, with numerous lackadaisical interactions between some sort of creative type confronted by new people whose orbits slowly circle one another as they engage in an eat/drink/be merry scenario. But it builds to a surprisingly weighty climax in a third act which is more confrontational about duplicitous human behaviors than most of his past works.

Bizarre, but not without its own unique brand of narrative and visual rewards, The Hyperboreans is an eclectic, disturbing, and formidable foray into the creative possibilities of what cinema can be.

The emotional payoff of the film isn’t so much about triumph, but resilience. And the reality of never knowing how being yourself inspires others, even long after it might seem the opportunity to do so has passed.

Hadžihalilović’s undeniable command of tone and directorial vision remains impressive. The Ice Tower depicts a cruel, unhappy realm and successfully elicits a corresponding emotional response.