Over a series of wild weekends, Argyris Papadimitropoulos’ Monday depicts a relationship that may feel exasperating and refreshing in equal measure.
Despite hints of an intriguing concept, Martin Grof’s Sensation doesn’t deliver on any potential promise in its execution.
A fun, bold short film from writer/director Polaris Banks, Reklaw is refreshingly original, funny and clearly lovingly crafted.
A sharper focus on melodrama, rather than the fascinating career of its central figure, means The Good Traitor doesn’t quite fulfil its own potential.
The Return: Life After Isis tells the story of the young women who left home to join ISIS in Syria, and the struggle as their home countries now deny them the right to return.
Lucas Belvaux’s Home Front is an intimate, affecting portrait of the ways in which the psychological wounds from war impacts the lives of two French soldiers.
Character-driven police drama Night Shift, from director Anne Fontaine, tackles the weighty theme of morality, but doesn’t quite stick the landing.
Mazen Khaled’s Martyr is a meditative, sentimental film about the complexities of loss and grief within an impoverished area of Beirut.
A Brixton Tale is an intimate look at the power privilege has on the way stories can be controlled, and an impressive debut from Darragh Carey and Bertrand Desrochers.
In the search for meaning, Guiseppe Capotondi’s The Burnt Orange Heresy doesn’t quite reach the artistic heights it aims for.