By John Besche
Now in its eleventh year, Cape Town's Silwerskermfees aims to shine a light on the diversity and talent at the heart of the Afrikaans-speaking filmmaking community.
Reliable Belgian director Joachim Lafosse serves up more lurid scandal sheet fodder in this dismal tale of a wife and mother trying to sweep her husband’s vile transgressions under the rug.
Amiable American comedy of dented male egos in which Griffin Dunne’s recent divorcee accidentally crashes his son's bachelor party.
The latest from Romanian filmmaker Cristi Puiu comprises four salty slices of pandemic-era life which range from the outwardly comic to the overtly grizzly.
A deaf-mute young man swears revenge on the group that murdered his family in Moritz Mohr's bloodthirsty but tedious directorial debut.
By Mark Asch
Nicolas Cage plays an otherwise unremarkable college professor who unexpectedly finds himself appearing in peoples' dreams in Kristoffer Borgli's latest satire.
There’s a whole lot of Chinatown in Chris Pine’s directorial debut Poolman, an Angeleno neo-noir with a script that gives Robert Towne more than fair grounds to sue for damages.
By Mark Asch
Taika Waititi is way-too eager to please with this aggressively feel-good comic fictionalisation of the lovely 2014 documentary of the same name.
In his latest documentary, the American master Frederick Wiseman observes the routines of the Troisgros family and their three fine dining restaurants in France.
Anna Kendrick’s directorial debut, about a abused upstart actress and a serial killer in her midst, says all the right things, but too loud and too often.
By Mark Asch
The new film from one of Romania's foremost cine-ironists, Radu Jude, is a glorious, poisonous, everything-in-the-pot treatise on the state of the world today.
By Mark Asch
Ladj Ly’s follow-up to his Cesar award-winning Les Misérables is a hyperbolic state-of-the-nation address that lacks the logic and fire of that first feature.
By Mark Asch
Less a swansong and more a heronsong from the Japanese maestro Hayao Miyazaki, a mystical and ambitious message of hope for the future.
Michel Franco's drama about the chokehold of the past boasts star power in Jessica Chastain and Peter Sarsgaard, but never quite delivers on its emotional premise.
By Mark Asch
More cinema of ominous discomfort from Kitty Green as she takes us to an out-of-the-way Australian boozer for some low-boiling violence.
Goran Stolevski's third feature is a story of queer solidarity in Northern Macedonia that doesn't quite come together.
A group of teenagers set off on a post-graduation road trip in Bill and Turner Ross's latest feature, billed as their first fiction.
Ava DuVernay adapts Isabel Wilkerson's 2020 non-fiction book 'Caste: The Origin of Our Discontents' with somewhat mixed results, interweaving Wilkerson's personal story into one of systemic subjugation.
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.
