Festivals

Youth (Spring) – first-look review

By Caitlin Quinlan

The Chinese master of slow cinema covers life in some of the country's 18,000 garment factories in this sprawling but focused documentary.

The Animal Kingdom – first-look review

By Sophie Monks Kaufman

Thomas Cailley presents a highly original sci-fi film that serves as an empathetic parable for real life intolerance of physical and neurological otherness.

How to Have Sex – first-look review

By Hannah Strong

A group of teenage girls embark on a wild post-exam holiday in Molly Manning Walker's evocative feature debut.

Indiana Jones and the Dial of Destiny – first-look review

By David Jenkins

It’s an improvement on the execrable Crystal Skull, but James Mangold’s exhumation of the Spielberg adventure serial is both tame and unnecessary.

The Delinquents – first-look review

By David Jenkins

This deadpan philosophical crime caper from Argentina's Rodrigo Moreno is a meandering and hilarious delight from end to end.

The Sweet East – first-look review

By Charles Bramesco

Talia Ryder stars as a high school student who becomes embroiled in various precarious situations on the east coast of America in Sean Price Williams' feature debut.

Monster – first-look review

By Charles Bramesco

Hirokazu Kore-eda’s latest, scored by the late Ryuichi Sakamoto, is a dense, shape-shifting drama that grows more scattered as it progresses.

Occupied City – first-look review

By Sophie Monks Kaufman

Steve McQueen's documentary contrasting present-day Amsterdam with its past occupation by the Nazis is a testament to the changing face of history.

The Director’s Fortnight and Critic’s Week sidebars bolster a packed Cannes

By Charles Bramesco

Films from Michel Gondry, Manoel de Oliveira, and a slew of newcomers will play alongside the Official Selection announced last week.

Martin Scorsese, Jonathan Glazer, and Wes Anderson lead the 2023 Cannes Film Festival lineup

By Charles Bramesco

The Competition selection also includes new works from Catherine Breillat and Todd Haynes.

Saunas, Funkytown and the consciousness of plants at CPH:DOX 2023

By Chris Cassingham

A raft of innovative and thoughtful world premieres stood out at Copenhagen's annual documentary festival, which moves from autumn to spring.

Queer people are stronger together at BFI Flare 2023

By Emma Curzon

This year's celebration of queer cinema emphasised the power of community and inclusivity.

Flamin’ Hot – first-look review

By Weiting Liu

Eva Longoria dramatises the invention of America's beloved spicy snack food in her charming feature debut.

I Used to Be Funny – first-look review

By Weiting Liu

A young woman struggles to come to terms with her PTSD while the child she used to nanny goes missing in Ally Pankiw's directorial debut.

Problemista – first-look review

By Lex Briscuso

Los Espookys' Julio Torres makes the leap to film with a surreal, touching comedy about a Salvadoran immigrant, co-starring Tilda Swinton.

Midnight in Austin: four world premieres at SXSW 2023

By Anton Bitel

Murderous teens, strange growths and television-haunting ghosts are on the bill in SXSW's midnight movies slate.

Bottoms – first-look review

By Lex Briscuso

Ayo Edibiri and Rachel Sennott star as teenagers who start an all-female fight club at their high school in Emma Seligman's raunchy sophomore feature.

Croisette wishes: 20 films we’d like to see at Cannes in 2023

By Charles Bramesco

Martin Scorsese, Wes Anderson, and Pedro Almodóvar number among the heavy hitters expected on the red carpet.

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Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.

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