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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What happens when the subject of your documentary wants nothing to do with you? Obviously, you use their own technology to create an AI version of them, and interview it in hopes of finding your answers.
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The following films are all concerned with forces that exist beyond the scope of their narratives.
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Black Bag, Steven Soderbergh’s 36th feature, sees the director return to the thrills and sex appeal of his ‘90s output.
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In Glorious Summer, co-directors Helena Ganjalyan and Bartosz Szpak craft an ethereal vehicle to examine the pitfalls of blissful ignorance.
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ASCO: Without Permission centers the revolutionary art collective and its cultural impact.
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The Rivals of Amziah King is one of the most strangely-paced films and thematically-incohesive films I’ve ever seen. That’s both to its benefit and its greatest flaw.
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The Python Hunt expertly delivers on its promises of humor and human interest.
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Where some stories of addiction slip into melodrama and misery, Surviving Earth shows the reality of sobriety as a choice that’s made every single day.
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With due respect paid, O’Dessa is awful.
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LifeHack is a good heist film, a good coming-of-age film, and a skillful deployment of screenlife as a storytelling technique.
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