Wes Anderson adapts his second Roald Dahl story, this time into a rather delightful short with some beautifully rendered theatrical set pieces.
Andrew Scott and Paul Mescal are electric in Andrew Haigh's twist on the modern ghost story, adapted from Taichi Yamada's cult novel.
Michael Mann's long-awaited Enzo Ferrari biopic is a disappointingly conventional and surprisingly rough portrait of an automotive icon.
Pablo Larraín imagines Augusto Pinochet as an aged vampire craving death in his gothic satire, which marks his first foray into horror.
Yorgos Lanthimos’ Poor Things and Emerald Fennell’s Saltburn are among the picks of this year’s bumper LFF crop.
In Leonor Teles's enigmatic second feature, spatial experimentation becomes geographic gap-bridging material.
Ena Sendijarević hits the sweet spot with this offbeat, surreal period piece set on a remote Indonesian island.
Dimitra Vlagopoulou gives a knockout performance in Sofia Exarchou's resort-set second feature about a group of seasonal performers.
By Kitty Grady
A world away from the glitz and glamour of Cannes, another French coastal city aims to build a more inclusive and challenging vision of a film festival.
By Esmé Holden
What can a film festival dedicated to the screening of older cinema tell us about the present state of audience engagement with movie watching?
Naqqash Khalid's inventive feature debut is a spiky take on navigating the British film industry as a non-white actor and trying to find your identity amid the hostile present day.
A power couple on the brink of pitching their start-up experience unexpected tension after a hypnotherapy session causes one of them to lose all their social inhibitions.
Pascal Plante presents a piercing take on true crime in this austere, affecting psychological thriller.
A young Afghan immigrant finds herself adrift in San Francisco in Babak Jalali's poetic fourth feature.
The psychological courtroom thriller with the great Sandra Hüller wins the top prize at the Cannes Film Festival.
Three precocious kids set out on a quest for blueberry pie in Weston Razooli's throwback adventure film.
By Mark Asch
In what could be his final film, Ken Loach turns his eye to UK immigration, focusing on a pub landlord in a town reckoning with a new population of Syrian refugees.
By Mark Asch
Josh O’Connor breaks out his halting Italian as a grave-robbing rascal in Alice Rohrwacher’s divine exploration of time, history and memory.
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.
