In Afternoons of Solitude, Serra’s first feature-length documentary in over a decade, the Spanish filmmaker sets his sights on one of his country’s longest-standing cultural institutions: bullfighting.
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Tornado is a welcome return from writer-director John Maclean. Hopefully, his next feature will not take another decade for its release.
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Life of Chuck is a movie that is full of heart and leaves you feeling warm and hopeful.
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Joseph Kosinski’s F1, a combination sports/coming-of-age/cool-aging-guy-still-has-it movie, has a lot that works. But for all of F1’s many virtues, it’s more interesting to think about than it is enjoyable.
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28 Years Later is both a strong revival and promising start to the new trilogy.
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On one hand, we can applaud Anderson for trying to distance himself from the titular Wes Anderson aesthetic, but on the other more cynical hand it feels he’s trying too hard to break out of the niche he’s curated for himself over the past 30 years.
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In this first edition of Hyperreal’s two-part coverage, we look at the first two films of the series, Bay of Angels and Boom!, and how these films populate the cinematic Mediterranean.
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As a parody of the highly popular Cabbage Patch Kids, the series featured gross-out and absurdist caricatures with a striking, cheeky charm that made them a marketing hit. As a result of this success, Topps Company would go dumpster diving in Hollywood, resulting in the 1987 film adaptation The Garbage Pail Kids Movie.
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Scream for Help is a sleazy, over-the-top, laugh-out-loud film that the Alamo Drafthouse programmer must’ve found at a VHS convention.
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A '70s low-budget vanity project from an aging cabaret performer sounds like something interminable and slack, released on 500 copies by some foreign VHS label, never to be seen again until showing up on Youtube in some smeary, unwatchable way. Remarkably, that's not at all what happened.
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Karate Kid: Legends doesn’t live up to the hype created by its predecessors; however it’s still a decent watch for Karate Kid fans, especially those with children they’ve introduced to the franchise.
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Agent of Happiness (2024), which screened at Indie Meme Fest 2025 takes place in Bhutan, a beautiful, small country with a unique policy: collecting and analyzing data on the happiness of its people.
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What does it mean that the industry of death photography is itself dying? Madan and Lahiri offer a wonderfully Asian response: Absolutely nothing.
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Into the Gallnerverse
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Sad Letters of an Imaginary Woman is a psychological horror at the level of identity, and part of a powerful wave of tense, feminist indie horror in South Asian cinema.
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Dangerous Animals is director Sean Byrne’s newest film, coming ten years after his sophomore feature The Devil’s Candy.
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In her follow-up to Past Lives, Celine Song crafts a visually polished rom-com that questions modern dating, ambition, and emotional connection—but struggles to ground its characters in real change.
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Neither movies or love are straightforward, which is why these kinds of romantic comedies tend to hit the hardest for me.
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Egoyan’s Exotica is fundamentally a story about grief, loneliness, and obsession. Although enduring loss is a universal experience, it is emotionally isolating.
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Brutalist architecture and the immigrant experience are on the surface, but the film is truly about homesteading, occupation, and the space buildings take from nature and other people.
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