Features

Festivals

Priscilla – first-look review

by Hannah Strong

Sofia Coppola turns her keen eye to modern mythology, adapting Priscilla Presley’s memoir into a gorgeous, acutely sad coming-of-age drama.
Festivals

Evil Does Not Exist – first-look review

by Xuanlin Tham

Ryusuke Hamaguchi’s ecological drama about a small mountain village threatened by a new development is a haunting, glacial depiction of the gulf between capitalism and environmentalism.
Festivals

The Caine Mutiny Court-Martial – first-look review

by Hannah Strong

William Friedkin’s final film sees Jason Clarke act as a reluctant naval lawyer in a highly irregular case, attempting to prove the innocence of a sailor accused of mutiny.
Festivals

The Killer – first-look review

by Hannah Strong

David Fincher and Se7en screenwriter Andrew Kevin Walker reteam for a thriller about an assassin whose bad day at the office has nasty ramifications.
Festivals

The Beast – first-look review

by Hannah Strong

Across three timelines, a pair of lovers find each other again and again in Bertrand Bonello’s ambitious, genre-defying latest.
Festivals

Aggro Dr1ft – first-look review

by Hannah Strong

Harmony Korine ushers in a new experimental tack with his purposefully off-putting infra-red assassin film, which attempts to gamify cinema.
Festivals

Maestro – first-look review

by Hannah Strong

Bradley Cooper’s much-feted drama about legendary composer and conductor Leonard Bernstein proves an underwhelming exercise in by-the-book biographical drama.
Festivals

Poor Things – first-look review

by Hannah Strong

Yorgos Lanthimos reunites with his Emma Stone for a lavish and lewd romp through a steampunk vision of Europe.
Festivals

The Wonderful Story of Henry Sugar – first-look review

by Hannah Strong

Wes Anderson adapts his second Roald Dahl story, this time into a rather delightful short with some beautifully rendered theatrical set pieces.

Past Lives finally pushes the As-Am Diaspora genre into the present

by Sylvia Jiho Lee

Celine Song’s swooning take on being caught between two worlds is a vital step forward for Asian American cinema.