Archive

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

Carlos Gómez Salamanca tells an intensely personal drama, a complete life trajectory, reflecting on a turbulent societal condition.

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.

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

While Handbook can be ruthless, Pavel Mozhar shows his finely-tuned sense for mutual respect even when the film is showing violently charged truths.

An exciting addition to the already rich and engaging filmography of Polish animation auteur Katarzyna Miechowicz.

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.

Diana Cam Van Nguyen’s festival hit is a personal story that becomes one of intergenerational and -cultural confrontation.

Haig Aivazian's most daring leap into the world of film and a cogent attempt to tie together his interests through the form of found footage.

This devious domestic animated drama from the acclaimed Špela Čadež seems enthusiastically committed to realist cinema.

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.

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

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

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

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

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

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.

By taking the disembodied point of view of automatic cameras, Naya — Der Wald hat tausend Augen covers an incredible amount of ground, and not only geographically.

Instead of offering anything as a straight factual counterpoint, the musical performances in One Hundred Steps themselves demand reconsideration.