There’s a century worth of experiences packed into this room to glean from, and nearly all of it is an enthralling exercise.

Despite the constant threat of censorship (or worse), the reporters still manage to find joy and even humor in their daily lives. That comedic energy grows increasingly dark and even apocalyptic as the situation becomes more perilous, but “My Undesirable Friends” shows that the power of human connection and the fight for justice and freedom endure even in the most oppressive settings.

At its best, Blue Heron soars, creating the world of Sasha’s family in impressively precise ways and allowing the underlying questions to linger without succumbing to simplistic answers or pat moments for cathartic release.

It’s a touching and moving homage that reminds us of the precious spirit that directs us towards remembering the deep love we have for family, through all its ups and downs.

The Alabama Solution may not provide a definitive answer, but it sparks an undeniable demand for change, making it one of the most urgent and important documentaries of the year.

This quietly moving documentary takes a hands-off approach, which allows audiences to organically meet the film on its level. This method lets the farmers subtly present the central conflict that’s most affecting their lives and livelihoods. The gorgeous black-and-white photography gives the film an appropriate sense of timelessness.

A profoundly moving experience about nuanced thematic explorations of connections that is exceptionally crafted. The somber filmmaking highlights an engaging atmosphere, and the narrative is layered, nuanced, and captivating. The performances are all exceptional.

The act of dreaming itself is what sustains us. Life is unpredictable, and dreams are sacred, which is why it’s nearly impossible not to find yourself rooting for someone as foolhardy as Marty Mauser, or for the beautifully unhinged vision of Josh Safdie.

Is God Is has an infectious, rambunctious energy that wraps you up in the drama and sweeps you along with every wave of emotion. Thanks to the fun that Harris injects throughout, whether it’s a moment of sisterly bonding or a moment of visual flair, it’s a bold, brutal blast, and one of the best debuts of the year. At the very least, it announces Aleshea Harris as a major new voice in cinema.

With Below the Clouds, Rosi performs an act of preemptive time travel by putting images and voices of a specific time, place, and people onto film. It’s a taxing watch that intentionally tries modern viewers’ patience, which is sure to repel most, but the nobility of Rosi’s intentions is inarguable.

Markus Schleinzer’s Rose is always engaging and has something thoughtful to say about gender norms.

It’s hard to argue with Martel’s mission, or the existence of the film at all; however, unfortunately, the director’s wide-ranging approach has the effect of muddling the story rather than elevating it.

Certain to energize longtime fans and generate new ones for generations to come, EPiC: Elvis Presley in Concert is a masterwork of montage. It’s a definitive doc that gives the sense of how the artist changed popular music, but also about how at his core he was a man with a powerful voice and a zealous need to entertain.

Cover-Up is an overall captivating, invigorating watch. Without editorializing too obviously, Poitras and Obenhaus have created an incredibly impactful and, at times, infuriating look at America’s history of violent imperfection, showing that when it comes to holding our nation accountable, journalists like Seymour Hersh are an absolute necessity.

Park Chan-wook has once again crafted a stunningly energetic and endlessly creative film that delights the mind and the eyes.

It may not always be easy to thoroughly enjoy a work like “Blue Film” because of its tough subject matter. Nobody wants to see an entirely sympathetic perspective of a person who has committed some of the most horrible deeds imaginable. But the strength of the film is not in seeking to answer those pure moral questions. It thrives in that gray area, contemplating the pain that leads people to the lives they end up creating for themselves.

“Fiume o Morte!,” a reference to D’Annunzio’s slogan “Fiume or death!,” is a brilliant, subversive takedown of fascism, ruthless in its pushback against this embarrassing chapter.

While it can be subjected to tedium, the engaging aura and captivating performances do more than enough to assemble a heartfelt analysis of love, bereavement, and finding one’s inner truth.

The culmination of Soto’s themes mixed with his comedic prowess produces an insightful meta-meditation on the meaning of creation. Its rewarding contemplations conclude its saga of misfortune with the power of the spoken word — wrapping the protagonist’s search for creative consolidation with a heart-rending bookend.

Homebound is both especially relevant in its exploration of the marginalized communities suffering on the outskirts for the identities society deemed lesser and increasingly resonant for how it shows human endurance does continue to live and fight on in pursuit of achieving their dreams to one day escape, earn their right to freedom and show that no single person should be defined by their background or community.

With a movie like The Serpent’s Skin, the accomplishments of the whole outweigh the nitpicks of its parts. The vibe is so, so right. Anyone looking for an empowering, forward-thinking, and trippy watch will feel right at home slipping into this movie’s, well, skin. It’s quite literally spellbinding.

One of the most impactful documentaries in recent years.

Overall, Obsession turns the volume up on impassioned romances with some incredibly committed performances from stars Johnston and Navarrette, and the wild scenarios they have to navigate. This is a film that demands to be seen with an audience to experience some high-energy creeps, chills, and thrills.

It’s a masterful reflection on how grief tears us apart, and the ways in which we try to put ourselves back together again. It is a film that lingers long after the credits roll, embedding its quiet power into the viewer’s mind and heart, a meditation on loss that is both intimate and universal.

The Tale of Silyan becomes not just a portrait of one man’s endurance but a testament to human resilience everywhere. Blending myth and realism with exquisite sensitivity, Kotevska crafts a work of rare poetic power, a film that observes, listens, and ultimately illuminates the quiet, stubborn beauty of life itself.

The writing is original, rich, and effective, ramping up tension until it reaches a graphic, brutal crescendo in the third act.

Director Sepideh Farsi's startling documentary utilizes WhatsApp video chats with a young Palestinian artist living in Gaza to provide a powerful snapshot of how the deadly war is decimating lives across her country.

With The Librarians, Kim A. Snyder has crafted a moving, invigorating call for tolerant thinking and freedom to prevail. Thankfully, it provides a path forward for those who will watch it with concern, showing that the best way to combat ignorance and hate is with the further dissemination of knowledge. Evil prefers a closed mind, and like a good book, these librarians seek to open them.

It serves as both an exploration of the law and a powerful tribute to a mother, a woman, and a human life tragically cut short.

Led by a terrifically tender performance by John Turturro, it’s a classy, enjoyable, lovely film about a man out of time, coming to terms with the fact that the world he occupies is no longer the world he knows.

Predators emerges as both a deeply unsettling reflection on a cultural moment and a probing look at how quickly compassion can erode when entertainment takes precedence over humanity. Stirring and provocative, it is not only one of the year’s most fascinating documentaries but also a career highlight for Dave Osit.

Alex Gibney’s documentary stands as a testament to the power of art in any form to push back against both abstract and real forms of oppression.

For some, the narrative’s stronger foundation will be an asset. For others, it’s an underwhelming aspect that detracts from the overall enjoyment of the read. Either way, the film remains a fascinating piece that showcases a high level of creativity, making it worthy of being experienced.

This is a film that’s as concerned with lofty ideas of existentialism as it is with the simply mundane observations of daily beauty. That both co-exist through the lens of Amélie makes this a timeless and essential tale about growing up and learning what it means to live to the fullest.

The Stranger is a distancing, cold watch that’s sure to leave many viewers feeling completely stranded, which just may be what Ozon is going for.

Mads Mikkelsen and Nikolaj Lie Kaas give terrific performances and the film’s wild mix of dark comedy, absurdity, and emotional moments keeps it endlessly engaging. Its visuals, sound design, and uniquely Scandinavian humor create a memorable cinematic experience.

Wilson manages to weave in a nearly non-stop barrage of jokes into the 100-minute runtime, while still keeping the tone lowkey. Though the film starts to lose steam toward the end, feeling as though it might have struggled to fill the feature runtime, it never stops being funny.

Given how well “Brian” works, it’s tempting to call it a miracle of a movie, simply because this humor shouldn’t play this well. But that’s not a miracle, that’s just everyone working on a film being perfectly aligned on how to tell the story they’re telling.

Little Trouble Girls is a confident debut from Djukić, who captures so much life and perspective into a dreamy 90-minute film. Making it even more impressive are wonderful debut performances from Ostan and Svajger.

Marczak’s film is a testament to a parent’s unwavering love and their willingness to do whatever it takes to bring their child home.

A harrowing portrait of an attempted rescue that is captivating and intense. It’s emotionally effective, incredibly moving and haunting as it captures these events with an impactful intimacy. The performances across the board are exceptional.

Even with crafts that, at worst, could be described as serviceable, the narrative and performances are so captivating that they more than compensate.

Preparation for the Next Life emerges as a poignant and empathetic examination of the challenges faced by young people in America. Through Bing Liu’s sensitive direction and Sebiya Behtiyar’s standout performance, it tells the story of two survivors bound by love but trapped in circumstances beyond their control.

Rian Johnson’s resurrection of the all-star murder mystery continues with yet another flawlessly cast, cleverly written, socially relevant, supremely entertaining entry in the “Knives Out” franchise

Regardless of one’s beliefs—or lack thereof—”The Testament of Ann Lee“ is an undeniably moving and inspirational story of holding true to one’s convictions and finding strength in a like-minded community, effectively brought into the 21st century through powerful, stirring music.

Campanella’s suspenseful direction makes for an emotionally resonant (and at times very upsetting) watch about enduring love, pain, and the evasiveness of true justice.

Separating Kokuho from most stories of artists striving for greatness is Sang-il’s commitment to capturing kabuki’s physicality. The filmmaker reminds us that greatness often comes from intense dedication as much as from the people around you. It is the art form itself, not just Kikuo’s internal desire, that makes his story worthwhile.

A beautifully crafted documentary that’s a celebration of the profound ways in which women like Sara Shahverdi can – and do – change the world around them.

The Christophers may not be Soderbergh operating at his peak, nor does the film build to a satisfying or impactful conclusion. Regardless, Coel and McKellen make this creative endeavour worthwhile.

The Ice Tower is a beautifully crafted coming-of-age story that casts a hypnotic spell, expertly blending cinema and fairytale to captivating effect.

John Early's unique sensibility bursts onto the big screen with huge laughs in this loving recreation of '80s-'90s Lifetime movies that's just as heartfelt as it is hilarious.

Those who exist within the warm bubble of environmentalism will surely connect the dots between the tidbits the filmmakers present. But those who take the film’s paean to critical thinking at face value will be left disappointed, searching for answers.

The film’s relentless narrative is expertly performed by a cast of newcomer talent who empathetically portray its heavy subject matter with deliberate psychological intensity.

Ultimately, Endless Cookie succeeds primarily because it keeps the story simple.

Dylan O’Brien delivers a career-best performance, and James Sweeney shows both a deft hand and great talent behind the camera as director.

Falconer deftly captures the pain and worry present in such a conundrum. But through her beautiful ode to Green Lake, she reminds her audience and characters that it will be okay.

Lurker is an eerie and chilling thriller that keeps its viewer stuck in an endless feedback loop of disconcerting behavior that’s only becoming more common.

If this film is anything, it’s a profoundly curious look at why we often shy away from what we feel are weaknesses. It also brushes up against this same penchant for uneasiness in the face of death with a lot of heart and honesty.

Director Maria Friedman has brought her landmark Broadway revival of Stephen Sondheim's most notorious flop to the screen that, in several key ways, actually improves on her heralded staging. The much-awarded performances of Radcliffe, Groff and Mendez shine even brighter on the big screen.

Even with a transfixing subject at its center, The Man Who Saves the World? struggles with its structure.

Making dumb seem clever, and clever seem silly, Matt Johnson and company take their mockumentary shtick to new and dizzying heights, literally.

While it’s impossible not to be moved by Holding Liat, Kramer also challenges his audience to consider the situation in Gaza carefully and really question what is best for the region going forward.

Ultimately, the piece collapses under the weight of del Toro’s vision, a muddled collage of tones that consistently underwhelms. It’s a beautiful collage that amounts to a surprisingly arduous execution.

The Blue Trail, despite its many narrative flaws, stands out for a striking visual style and ability to ask uncomfortable questions about aging and autonomy.

KPop Demon Hunters slays as a mystical, action-packed musical full of surprises, and it deserves to be played in theaters.

Ultimately, what you see is exactly what you get with Poetic License – an average American comedy that unremarkably plays it safe.

Ultimately, Mile End Kicks is a messy, heartfelt portrait of youth and creative ambition.

A near-perfect crowd-pleaser. Thanks to clear, confident direction from Phil Lord & Chris Miller, this soaring adaptation is bursting with creativity. Impressively crafted across the board. Ryan Gosling’s flawless turn is both hilarious and heartbreaking. Both an epic journey to save humanity and an intimate story of friendship.

Rare are comedies this funny and this mature. Its rich themes hit home, especially for anyone in a long-term relationship.

Crime simply hasn’t felt this hot, or this exciting, in quite some time.

Father Mother Sister Brother is a cinematic series of variations on a theme, proving to be a gentle yet humorous look at how we interact with the people we have no choice but to know and, hopefully, love.

While it may be indebted to more modern storytelling methods than his previous features, Hokum still possesses enough of McCarthy’s dark magic that it will hold you in a vice grip all the way through. Considering how played-out many horror films feel nowadays, McCarthy’s mastery at scaring the audience is cause for celebration.

Wasteman might be one of the bigger surprises this year at the Toronto International Film Festival and certainly one to keep your eyes on.

In the end, Boys Go to Jupiter may not fully stick the landing, but it’s a bold, vibrant, and unmistakably personal work of animated cinema. It won’t be for everyone, but like any great piece of outsider art, it doesn’t try to be. Glander has created something strange and resonant, a lo-fi lullaby for the anxious and overworked who just want to be a kid again.

While well-made, The Currents lacks the spark of originality that could make it truly outstanding

The subjects here are soulful in their recollections and captivating as they hold court. Even with missed opportunities for an even deeper understanding, what is present is still a worthwhile discovery.

The subdued, naturalistic, and sometimes playful approach to the subject is a welcome departure from more conventional family dramas about separation.

With stellar stylization and a soundtrack full of female-driven punk rock, it hilariously skewers the blatant sexism in the chess world while dramatizing gripping matches. A crowd-pleasing documentary.

Influencers loosely explores its ideas through a slew of new approaches, which don’t always pay off. This sequel does feel like a much bigger film, both in terms of scope and presentation. But while sustaining the tone and style of the original, these expansions of ideas work to varying degrees. Yet the hiccups present in such thematic explorations never feel like misfires as much as they feel a bit undercooked.

Stiller and Meara: Nothing is Lost stands not only as Ben Stiller’s best film directorial work in years but also as a very personal keepsake for him and his family. With admiration, respect and honesty, this carefully crafted cinematic family album ensures his parents’ brilliance and love will never fade.

Raimi’s efforts as director do a lot to bring out a campy tone amid the violence, which makes for an engaging ride. The commitment from McAdams and O’Brien goes a long way toward elevating their characters, and watching their changing dynamic unfold is intriguing. Yet these elements are fighting against a script that weighs down the other inventive aspects of the performances and filmmaking. The narrative is too broad and can’t sustain itself over this runtime.

The film deliberately avoids sweeping statements and proclamations, instead choosing to smartly focus on one ordinary person, brought to life by one of our most extraordinary performers.

Through puppets, recreations, and other hybrid material, León & Cociña have produced an otherworldly, and thought-provoking cultural artifact on Chile's nationalist history.

There’s no denying what a powerfully rendered tale this is, both impressive in its filmmaking and performances.

Regardless of Eliassi’s commendable efforts to enact real change, she’s a limited messenger in the pursuit of coexistence.

The performances by the entire cast are charming and authentic, elevated by a lovely score and picturesque cinematography. A gorgeous, personal story that's more than easy to get emotionally invested in.

While the sprawling storytelling can be disjointed at times, and some topics fall short of intrigue, “The Oldest Person in the World” offers several impactful moments to reflect meaningfully on aging. Green follows through on his compulsion and explores a fascinating subject with curiosity, while introducing us to an equally fascinating group of individuals from around the world.

Carney does dig into something interesting about inspiration: how, in music, it’s an amalgam of origins that’s harder to define than in other art forms. Still, the rest of the film settles for being a feel-good dramedy, with any depth merely trailing behind the tear-inducing monologues these characters deliver.

With warmth and sincerity, “I Wish You All the Best” becomes a reminder that kindness matters and that sometimes, the compassion of others can truly save a life.

A coming-of-age film that feels surprisingly original. It's hilarious and charming and features fantastic performances. Everett Blunck is a brilliant new talent to keep an eye on.

Jane Austen Wrecked My Life feels destined to become a quintessential Austen-adjacent classic. The film lives up to its playful title with a thoughtful blend of the author’s sense and sensibility.

Billie Eilish Hit Me Hard and Soft: The Tour Live in 3D is the result of two very innovative artists joining forces to combine their artistry and create one of the greatest concert movies to date. It is the magic of music and film.

Either you’re able to get on Fuller’s wavelength or not, but the freshness and boldness of Dust Bunny are cause for celebration, regardless of which side you find yourself. There’s nothing else like it.

The character study being forged remains passionately vibrant, and Maura’s performance serves as the guiding light that makes this effort worthwhile. She is undoubtedly the film’s greatest asset, and it’s worth seeking out just to watch her brilliant work.

Lost in the Jungle is a gripping, deeply human tale of survival, told with precision, empathy, and artistry by two of the very best documentarian filmmakers out there.

It’s exactly the kind of solid entertainment, with the right mix of laughs and tears, that reminds us of the genius-level storytelling the good folks over there are capable of. It’s precisely what the animation studio needed at this time and fits comfortably alongside some of their upper-tier offerings.

Boots Riley is a genuine original, and in I Love Boosters, he makes a statement as wildly entertaining as possible.

Sections of this story are missing to give an even broader context, and that means the more powerful message of what really went into making this picture ultimately is muted. However, for anyone who looked upon this enormous undertaking and wanted a bit more information, there is plenty here to satisfy.