‘In Water (mul-an-e-seo)’ review: Hong Sang-soo blurs the lines of his own self-reference to middling effect | Berlinale
What’s a year without a Hong Sang-soo film? Does a film festival even exist, if it does not feature a regular slot for the prolific... Read More
Savina Petkova
‘Past Lives’ review: Celine Song’s poignant debut is a nuanced little wonder | Berlinale
Three devastatingly attractive people are sitting at a bar: who are they? Or more importantly, who are they to each other? This initial curiosity bordering... Read More
‘Manodrome’ review: Jesse Eisenberg is phenomenal in John Trengove’s fascinating take on toxic masculinity | Berlinale
The Wound, the acclaimed debut by the South African director John Trengove, provides a good launchpad for his sophomore feature, with Xhosa initiation traditions swapped... Read More
‘Reality’ review: Sydney Sweeney is a tour de force in intense U.S. election whistleblower thriller | Berlinale
Playwright Tina Satter makes her screen debut with Reality, a simmering investigative drama reconstructing the arrest of Reality Winner, an NSA contractor and ex-Air Force... Read More
‘The Adults’ review: Dustin Guy Defa misses the mark in this quirky family drama | Berlinale
American indie favorite Dustin Guy Defa returns to Berlinale with a feature almost a decade after his short film Person to Person screened fresh out... Read More
‘BlackBerry’ review: 90s nostalgia yields little cinematic juice in what feels like mid-TV at best | Berlinale
BlackBerry, the follow-up to his 2016 docu-fiction Operation Avalanche, sees actor-director Matt Johnson put inventors, investors, and the internet to the test in a nostalgia-fueled... Read More
Cannes Review: Riley Keough and Gina Gammell’s ‘War Pony’ is a well-intended but often performative look at letting Lakota people telling their stories [Grade: B-]
The origin story of Riley Keough and Gina Gammell’s feature debut, War Pony, coincides with the production of another film, Andrea Arnold’s 2016 Cannes Jury... Read More
Cannes Review: Paul Mescal plays a troubled father in Charlotte Wells’ delicately stunning debut, ‘Aftersun’ [Grade A-]
What can we do with our fickle memories of childhood, especially the ones painting our parents with idealistic brush strokes, as if they were something... Read More
Cannes Review: Margaret Qualley and Joe Alwyn set their love ablaze in Claire Denis’ steamy Nicaragua-set romance ‘Stars at Noon’ [Grade: A]
Trish (Margaret Qualley) is a journalist whose press card is being revoked and her stay in Nicaragua compromised, and her way of making ends meet... Read More
Cannes Review: Agnieszka Smoczyńska’s English-language debut ‘The Silent Twins’ is a bewitching ode to female kinship [Grade: A+]
Polish filmmaker Agnieszka Smoczyńska returns to Cannes four years after her Fugue premiered in Semaine de la Critique (aka Critics Week), bringing the flair from... Read More
FINAL Frontrunner Friday Oscar Predictions of the 2025/2026 Season 
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‘I Love Boosters’ Review: Boots Riley’s Dressed to Excess Cartoon Revolution is Too Much and Not Enough [B-] SXSW 
‘Margo’s Got Money Troubles’ Season One Review: Elle Fanning and Michelle Pfeiffer Momedy Hits the Mark [B+]