Ari Folman’s animated retelling of the wartime diarist’s tragic story falls foul of some questionable artistic license.
A masterful dissection of love, memory and autobiography from the ever-wonderful French maestro, Mia Hansen-Løve.
Wes Anderson’s star-studded, multi-chaptered tribute to The New York is his most impressionistic work to date.
Oliver Stone is at his most conspiracy-minded in this entertaining but outlandish doc on the JFK assassination.
By Mark Asch
Sean Penn returns to Cannes five years after the fiasco of The Last Face with a somehow even more calamitous family drama.
Ryusuke Hamaguchi adapts Murukami and delivers a masterpiece study on the fickle dynamics of human emotion.
By Mark Asch
This delicate Finnish comedy of social and political manners has all the trappings of an arthouse crowd-pleaser.
Todd Haynes’ first documentary takes a thrilling, cautiously ambivalent look at the NY art-rock demigods.
A small domestic tiff spirals out into city-wide civil war in Catherine Corsini’s comedy-infused political drama.
Clio Barnard returns with a social realist riff on the classic romcom, and it’s one of her best films to date.
Andrea Arnold successfully adapts her social realist mode to minutely chronicle the life of an average dairy cow.
Lip-smacking provocation and saucy humour abounds in Paul Verhoeven’s rip-roaring nunsploitation romp.
Joachim Trier returns to Cannes with a keenly-observed drama about the often turbulent nature of modern romance.
Kogonada’s sci-fi-tinged family drama confirms its writer/director as one of cinema’s most vital new voices.
François Ozon takes a light-hearted look at the banality and bureaucracy of assisted suicide in his misfiring latest.
By Mark Asch
Mahamat-Saleh Haroun’s bright, hopeful film addresses the persistent issue of women’s reproductive health in present-day Chad.
Matt Damon is a father fighting for his imprisoned daughter’s release in Tom McCarthy’s tonally uneven drama.
Israeli filmmaker Nadav Lapid serves up a spiky, intelligent drama about conflict and reconciliation.
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.
