Violet Du Feng’s documentary, Hidden Letters, is a carefully considered, fiercely potent snapshot of a country and society in flux.
The Belgium-based, immigration-centred Tori and Lokita is a vintage piece of Dardenne cinema, but its naturalistic power falters in comparison to their previous films.
The mesmerising, rustic and sometimes darkly comic You Won’t Be Alone impressively deals in both grotesque gore and Malickian philosophical grandeur.
Chinonye Chukwu’s third feature, Till, is an angry and inspirational story surrounding racism in America, a film as much about the 1950s as it is the present day.
Maria Schrader chronicles the story surrounding the wider emergence of the Me Too movement in She Said, her seismic investigative film.
After the film’s first screening at London Film Festival, we sat down for an interview with Triangle of Sadness scene-stealer Dolly De Leon.
Before its screening at London Film Festival, we interviewed director Hlynur Palmáson about his latest film, Godland.
Immaculately structured and impressively transferred from page to screen, Brother retains the ferocity, tangibility and emotional heft of David Chariandy’s novel.
Fyzal Boulifa swaps British suburbia for the streets of Morocco in his rich but surprisingly tepid sophomore feature, The Damned Don’t Cry.
The wonder of discovery turns to unbridled fear in Andrew Cumming’s ferocious, blood-soaked horror film, The Origin.