The debut full-length feature film from Piotr Adamski, Eastern, is a fresh, dystopian genre hybrid that’s lean but full to the brim of thrills and intriguing concepts.
Clark Johnson’s farm-meets-courtroom drama Percy vs. Goliath has an interesting enough story at its root, but the finished crop is missing something special.
Celebrated filmmaker Alanis Obomsawin’s Our People Will Be Healed highlights the hopes of the Norway House Cree Nation for future culture preservation.
Irish vampire comedy-horror Boys from County Hell, from writer/director Chris Baugh, brings both the laughs and the scares.
Simon Godwin’s Romeo & Juliet (National Theatre) is a perfect encapsulation of the magic of cinema and stage, told through the world’s most famous love story.
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.