Catch the Fair One satisfies with its sleek style, gritty violence, and tense genre thrills, even if it does come off as almost overwhelmingly bleak.
Shapeless has the promise of grotesque body horror and squirm-inducing psychological terrors, but does very little to deliver on its intriguing premise.
Last Film Show is a colorfully shot, expressive portrait of growing to love the art of filmmaking, showcasing the magic and majesty of movies.
Labyrinth of Cinema is a thoughtful and exciting rumination on the art of film, and serves as a farewell from its director, the late Nobuhiko Obayashi.
The Other Side of the Underneath is anything but an easy watch, though it rewards viewers willing to enter its abrasive world of unmitigated horror and anguish.
Not only is Mother’s Milk a radical experiment in cinematic collaboration, it is also an invigorating and entrancing exploration of identity.
Father is a gorgeously filmed, sensitively acted, and decidedly minimalist drama that overcomes a familiar screenplay by showcasing moments of quiet humanity.
The Legend of Hei is a gorgeously animated and exciting children’s adventure film, with enough surprises and endearing moments to make it worth a watch.
While Indonesian thriller Preman features compelling visuals, it unfortunately succumbs to a conventional story and unfocused tone.
While Poly Styrene: I am a Cliché is a sensitive expression of one of punk’s most idiosyncratic figures, it mostly ends up feeling standard and disconnected.