Archive

Portuguese filmmaker Diogo Costa Amarante’s follow-up to his Golden Bear-winning 2016 short Small Town with a more straightforward celebration of the power of friendship.

Hotel Royal is a complete work of fiction that draws heavily from the conditions of its creation, namely the COVID-19 pandemic.

Nicolai G.H Johansen’s horror-thriller investigates the roots of fear and anxiety—the one associated with a first love, a first touch, a first time of carelessly crossing a boundary towards the Other.

In her debut film, Maria Estela Paiso presents a walk down memory lane as a horror show. The end of the world is nigh and frogs are raining down from the sky.

A character study of a middle aged woman, in many ways reminiscent of Yasujirō Ozu’s cinematic work.

Pom Bunsermvicha’s embrace of metafiction in Lemongrass Girl comes as no surprise as it follows a recent trend in Thai cinema.

Théo Jollets Meet Doug is a mesmeric overload that is quietly stunning.

Leonardo Martinelli’s Locarno Golden Leopard winner Neon Phantom is surprisingly as entertaining and watchable as it is urgent and harrowing.

The past is inescapable for the protagonists in Marie Larrivé’s Noir-Soleil, in which the filmmaker wants us to pay close attention to “unmoments”—seemingly unimportant short occurrences where the characters stare into space or an animal moves between the bushes.

A fun, campy homage to contemporary folk and cosmic horror.

Competing in the prestigious Cannes short film competition this year, Orthodontics is as an anachronistic tale of youth and friendship.

Nikita is a young teenager and a real techno music aficionado. Berlin is calling in this Eastern European love child of Gaspar Noé’s Climax and Xavier Dolan’s Mommy.