Norman Gidney

Cronenberg has created a mind-bending trip of a movie with more to say than your average actioner and is supported by spectacular performances and make-up and practical effects that seal the deal. Brace yourself. Possessor is brilliant.

The Nightingale is another triumph for Kent. Not one to aim for more crowd-pleasing material and palatable choices, she directs this visceral and moving revenge picture with a very sure hand.

Hardly any of The Painted Bird is what you would call pleasant. It is often a difficult watch at times but is a consistently engaging one.

Newnham and LeBrecht weave a narrative from multiple archival sources that capture the innocence, the subtle awakening, and ultimate determination of a small group of disenfranchised who suddenly realized that there was something to fight for.

Writer-director duo Albert Birney and star Kentucker Audley take us on a whimsical journey that bends timelines and genres, resulting in a consistently absurd, hilarious adventure.

Disclosure: Trans Lives on Screen not only leaves us with the hope that things will improve, but it also shows us how much better the industry is when everyone is included, represented, and respected. Here’s to a brighter, more diverse future for all trans actors.

Anchored by an iconic turn from Cobb, in her first lead role, and consistently daring choices from both star and director, We Are All Going to the World’s Fair is one hell of a trip.

A kaleidoscopic look at a marginalized community, Queer Japan is required viewing for anyone in the community as well as their allies.

Emergency is a sharp, farcical comedy with a message.

With the endearing true story of Jack & Yaya and the power of documentary film, I am given hope that we will unite because of diversity.

In every scene, Blank’s work shines as a writer, a director and as an actor. Her relentless charisma and authenticity tinged with wit carry every scene of the film, making it a joy to witness. This is the arrival of a talented voice in indie film.

Through a bracing pastiche of methods, we are taken on a harrowing journey that must have A-list directors, this very minute clamoring for option rights. It is beautiful and gripping; Flee is a must-see.

Benson and Moorhead have crafted yet another lo-fi sci-fi masterpiece.

Wounds is a visceral, disturbing descent into the destruction of a man that hits all of the conventional horror notes with sadistic joy taking viewers on a ride straight to hell.

Roher is profoundly lucky to have been around when Navalny’s harrowing story needed to be told, and so are we.

Directors Cristina Costantini and Kareem Tabsch have created a heartwarming testament to a man whose singular message was one of love and inclusion.

While it would be impossible to end A Thousand Cuts on a positive note, Diaz holds fast on her subject and Ressa’s determination to fight for what she believes in. This lights a path towards hope and the belief that truth and justice will ultimately prevail in a climate where lies spread faster than facts.

St. Agatha is a fine thriller that is much better than you will expect it to be. Bousman guides a coherent and nimble narrative to shocking and satisfying builds.

See You Then isn’t perfect, but it is sincere. Its aim is true, and the message of evolution, healing, and growth is sorely needed.

Horror movies usually aim to scare, entertain, and teach us. Amulet mostly does all three. Very nicely done.

A good-natured comedy that, while not always funny, remains as sincere as The Book of Mormon. No, really, that is a massive compliment.

Jockey is a solid piece of work that reflects on who we are and what we leave behind, as well as the prices we pay to get there.

Delgado’s script is keenly aware of the world she is sharing. With the utmost humanity, each frame conveys the lives of those living in limbo, working for the mere hope of something better.

Ultimately affirming Feels Good Man is a fun, feel-good doc.

Despite minor misgivings, it is a thoroughly engaging horror film with more on its mind than simply building to a climax. This is a poignant observation on aging and death that is supported by a trio of knockout performances and a female-heavy production.

Hala is a breath of fresh air that reminds us that as long as we live authentically, with compassion and understanding, the world around us is far easier to deal with.

Somehow, we get a new Annabelle movie that develops its own personality and takes on the lore without rewriting or undoing anything that has already been shown in the other films.

Not since Shaun of the Dead has there been such a consistently uproarious zombie movie.