Danny Boyle’s 28 Years Later is less a conventional horror sequel and more a daring meditation on civilization’s denial of death. While it preserves the surface elements of the genre
Sleepless City (Ciudad Sin Suede), the first narrative feature from Spanish filmmaker Guillermo Galoe, premiered in the 2025 Critics’ Week at Cannes
In L'Inconnu de la Grande Arche, Stéphane Demoustier turns his camera to the skies—both literally and metaphorically
In Just the Worst Time, filmmaker Nihal Singhsachathet offers a sharp and surreal twist on the classic Faustian bargain, where even the Devil can’t close a deal. This witty yet unsettling
In Sewing a Nightmare, fashion and fear are stitched together in a surreal, genre-bending exploration of isolation, ambition, and anxiety. We sat down with the filmmaker, Louise V. Mason, to discuss
Blazing past convention, Stoned for Christmas is a kaleidoscopic animated short that combines weed culture, queer joy, and visual experimentation in one irreverent, emotionally resonant package. We spoke with Morgan Young, the
Horror thrives on the intersection of the seen and the unseen, the tangible and the supernatural. In this chilling new film, a cursed Polaroid camera becomes the bridge between past
In Meet Me en Rêve, the boundaries between fantasy and reality blur as a woman wrestles with the confines of heteronormativity, self-repression, and the weight of societal expectations. Helmed by a
In an era where artificial intelligence is rapidly reshaping creative industries, the question of human artistry’s survival becomes more pressing than ever. Abandoned Instruments delves into this very concern, exploring
“Emilia Pérez,” the controversial musical-crime film by Jacques Audiard, exploded like a bomb in Hollywood: it tells the story of a Mexican cartel boss who stages his own death and