Film

What Belongs To Others opens by plunging us into the labour of two professional burglars on the margins of Polish precarity, whose day soon curdles into something life-changing. Kasia (Monika Sabina Kwiatkowska), amiddle-aged woman shackled to her abusive, debt-ridden boyfriend Darek (Robert Mania), gets by pretending to scrub tenement staircases while casing the badly locked

Fifteen-year-old Jo (Evita Andriopoulou) is having abad day. Her dog is missing, she’s late for school, and she had astrange dream the night before. After kicking the wing mirror off her mother’s car in afit of frustration, she heads, shoulders hunched, into another boring day of classes, where classmates gossip and grumble in hushed voices

For 75 of the 80minutes of Yuval Abraham and Rachel Szor’sNAZA, we are in the dark. Only literally, for the words we hear spoken from the dimly lit rooftops of Tel Aviv could not be any clearer. They come from the mouths of former IDF soldiers, whose faces are obscured by night and whose voices

It might unfold primarily in apsychiatric unit, but make no bones about it:15/18 is ahigh school movie. Cédric Kahn’s verité-style drama eschews the typical pathologizing that comes with the territory of treating teenage mental maladies. In this Parisian ward treating patients aged 15 through 18, everyone is defined as aperson before being reduced to asocial

Like many who came before him, Arash (Missagh Zareh), aonce-reputable physician, bears the psychological scars of trauma inflicted by Iran’s theocratic régime. After being caught treating wounded protestors, his medical practice was physically sealed off by the government and he was arrested. Ali Asgari’s ABit of Light unfolds on asingle day in the aftermath of

Allen Nelson was aBlack veteran who struggled his entire life to come to terms with his actions during the Vietnam War. His time in the marines was measured in atrocities; after coming home, he couldn’t reconcile adomestic existence with what he did in the name of American imperialism. It was only after decades of struggling

Lisa’s sexual after school activities may seem separate from Monica’s death, but they are inextricably linked. The former are brief, perfunctory affairs, while Monica’s suffering in Lisa’s arms after the accident, is as intimate as it is disturbing. The violent and prolonged death sequence in which Monica rapidly loses blood as her leg (which remains

In aroundtable interview towards the end of July 2026, Mike Leigh suggested that his sixteenth film, Tender Loving Care, would likely be his last, not out of choice but necessity. Complications from living with the muscle wasting disease myositis have reduced his mobility, and Leigh admitted that the physical demands of filmmaking were becoming aburden.

On the outskirts of Tehran afamily of four are getting ready to move house; their current home is schedule for imminent demolition, and preparations have been made for them to relocate. Eldest daughter Ensi (Laleh Marzban) plans to go astep further. With the help of her mother Zinat (Rima Raminfar) she’s made arrangements to leave

They’ll find the body when the vultures come. That’s what Lester (Ebon Moss-Bachrach) tells his son Mikey (Fred Hechinger) after his mother Louise (Caitríona Balfe) goes missing in avicious storm near their mountain farm. The night before she’d fought with her husband over her alcoholism; he’d thrown out all the booze, leaving Louise to her

If Hansen’s gum-smacking producer, Andie Bender (Merritt Wever) doesn’t share her star’s unwavering superiority complex, it’s only because she’s got the ratings in mind. Her only mission is to make the number one show on television. She doesn’t really care about any of the others – not Hansen, Plum, nor ​‘Perverted Justice’ mastermind Xavier Von

The tenth commandment prefaces Lee Chang-dong’s Possible Love: Thou shalt not covet. Whether it’s thy neighbour’s house or thy neighbour’s wife, the Good Book is clear about the price of envy, but it’s hard to not believe the grass is greener when your own garden lies parched and withered. For Mi-ok (Jeon Do-yeon) and her

In February 1991, queer writer-director Derek Jarman set out to adapt a400-year-old Shakespearean play,Edward II, into an avant-garde protest film that he hoped would capture the hostile homophobia of Thatcher-era England in his typical radical fashion. Thirty-five years later, armed with atreasure trove of intoxicating unseen behind-the-scenes footage, writer-director Theo Rollason uses their debut feature

After awar comes areckoning. The survivors will sweep the streets and bury the dead – and then start to point fingers. In the wake of World War Two, many societies that had suffered under Nazi occupation were rightfully angry towards those they saw as sympathisers and collaborators. They were quick to dole out what they

Hovering afew meters above the city from the window seat of acrowded bus, London (Victor di Marco) ponders how daylight has always been ​“denied” to him. He is aman of the night, aself-described ​“question mark limping happily through the streets.” It is apoignant reflection, but one that contradicts the film that follows for, while London

Directors have often enjoyed toying with Louis Garrel’s onscreen heartthrob reputation. The latest to capitalise on his charisma is Nanni Moretti inIt Will Happen Tonight, who sets Garrel to work in adecades and nations-spanning romance about waiting for the ones you love. In spite of its ambitious proportions, though, this patience-testing film consistently underwhelms on

Kouzuki is not the only one. Count Fujiwara is in fact aKorean conman, and the ease with which he passes as Japanese nobility unsettles the concept of acoherent ethnic identity. The lack of perceivable difference between the Japanese colonisers and the colonised Koreans engenders an uneasy ambiguity where it’s hard to tell friend from foe.

The crowning achievement of Miloš Forman’s still somewhat overlooked biopic ofHustlermagazine founderThePeople Vs. Larry Flyntis its tight grasp on the performative nature of morality. In the claustrophobic home of hypocrisy, all walls are made of glass. WithInk, Danny Boyle’s own shot at profiling acontroversial media mogul, the director is so swept up in underscoring his

The opening scene of Lili Horvát’sMy Notes on Marsevokes that of Sandra Wollner’sThe Trouble of Being Born: the contrast of agrey, granite pool against the bright green of surrounding nature, the water whooshing in the same lulling frequency as the wind. Both openings also instantly ingrain aslithering irksomeness to the film that will follow, the

Even when it looks like Irish writer/​director Martin McDonagh has one foot deeply set in his comfort zone – the tawdry world of dysfunctional male friendships – the other foot is somewhere else entirely, this time tramping the fertile ground of JFK conspiracy theories and America’s checkered history of destabilising nascent democracies around the globe.