For his tenth feature film (eleventh if you count his student featurette, Xiaoshan Going Home), Jia Zhang-ke has made what is perhaps his most ambitious project yet.
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Today, we got the opportunity to speak to Hannia Yeverino about her film Punks, which played this year at the Houston Latino Film Festival.
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Like a well-mixed but not particularly innovative cocktail you might order at a chain restaurant in the suburbs, this movie goes down easy but doesn't linger long in the memory.
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In Mistress Dispeller, Elizabeth Lo’s (罗宝) second documentary feature, the camera feels almost absent, disappeared in the way of a narrative film. It’s a documentary shot like a romantic drama, specifically evoking the dreamy, languid camera most associated with slow cinema.
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Bring Her Back, directed by Danny and Michael Philippou and written by Bill Hinzman and Danny, finetunes the jumpscares and creeping atmosphere of their debut Talk to Me while offering a storyline that’s both more cogent and emotionally intuitive than its predecessor.
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In practice, Ray Mendoza and Alex Garland’s Warfare is an intense, uncomfortable watch.
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Neighborhood Watch is a fine detective film, thanks primarily to Quaid and Morgan’s fine work on their own and together.
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It must be said—The Legend of Ochi is like a Soviet version of Spielberg’s E.T. replicated through the hypnotic lens of '80s fantasy cinema.
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Over seven years and multiple visits, Singh filmed the documentary And, Towards Happy Alleys, which screened in April as part of Austin’s 2025 Indie Meme Festival. It’s electric.
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While The Glassworker doesn’t quite stick its landing, it’s thoughtful, thorny, and willing to ride ambiguities and uncertainties.
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Cristina Costantini’s Sally is a welcome highlight among the documentaries of SXSW ‘25.
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Though director Max Hey is focused and dialed in from the moment the documentary begins, Now! More! Yes! ultimately meanders around with its subject without inspiring much interest.
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Director/writer Rungano Nyoni’s On Becoming a Guinea Fowl—her second feature film after 2017’s I Am Not a Witch—is one of the best films of 2025 so far.
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While few of Fulci’s classic films appear to take place in the “real” world, Conquest (1983) is the director’s lone foray into the pure fantasy genre.
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From the get-go, Godzilla vs Megalon misleads and surprises the audience. Outside of the final twenty minutes and the first two minutes, Godzilla is not in the movie. Rather, we follow a story of kaiju and sci-fi intrigue as two parents and their kid try to stop spies from the underground world of Seatopia from stealing Jet Jaguar, a humanoid robot.
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Peter Strickland’s Duke of Burgundy examines the give and take of love through the prism of kink, and how even in the context of a sapphic dom-sub relationship, power dynamics can ever shift between two people.
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Wiseman’s directorial method is never clearer than with Aspen (1991) and Model (1981), the final two installments in AFS’ “Frederick Wiseman: Eight Systems” series.
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An Angel at My Table grapples with, and sometimes struggles against, historic and contemporary portrayals of illness and disability, in order to craft a beautiful, moving tale about an extraordinary woman.
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In Idiotka, her feature debut as a director, Nastasya Popov delivers one hell of a calling card.
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Truth be told, this reviewer didn’t care for The Accountant 2.
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