In celebration of a BFI season of the German maverick’s sublime work in film, we pick ten of our absolute faves.
Jafar Panahi plays himself in this lovingly-crafted autofiction that centers on two pairs of lovers.
Tessa Thompson plays a helpline volunteer on her final shift in Steve Buscemi's sensitive drama.
By Leila Latif
Andrew Dominik’s adaptation of Joyce Carol Oates’ behemoth Marilyn Monroe novel is a surreal, anarchic take on celebrity and womanhood.
Vahid Jalilvand crafts an intimate puzzle box of a film, regarding the lives of two strangers that intersect in a fascinating and tragic manner.
Benedetta Argenteri's documentary about Tooba Gondal fails to get to the systematic causes of radicalisation, instead opting for shoddy personal blame.
Despite boasting some big names, Florian Zeller's follow-up to The Father is a missed opportunity to tackle the weighty subject of teen depression.
This deeply nuanced treatise on the tragedy of motherhood marks the extraordinary feature debut of Alice Diop.
By Leila Latif
There should be a warrant out for someone's arrest after this dire western from Walter Hill.
Tilda Swinton plays both mother and daughter in Joanna Hogg's eerie and effective exploration of parent-child relationships.
By Xuanlin Tham
Koji Fukuda's ninth feature fails to meet the mark when it comes to exploring the knotty topic of familial grief.
Florence Pugh can't save this underwhelming retro sci-fi from its overreliance on genre cliches.
Martin McDonagh reunites with Colin Farrell and Brendan Gleeson for a biting but charming examination of a disintegrating friendship against the backdrop of the Irish Civil War.
Brendan Fraser gives his all as a morbidly obese man trying to reconnect with his estranged daughter before his death.
Rebecca Zlotowski’s wistful character study of a woman navigating the highs and lows of middle age bursts with passion and insight.
Joel Edgerton plays a horticulturist with a troubled past in Paul Schrader's beautiful but underwhelming drama.
By Leila Latif
Laura Poitras documents US artist Nan Goldin's attempts to expose the Sackler family for their role in the US opioid crisis, but with mixed results.
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.
