Letitia Wright and Tamara Lawrance star in Agnieszka Smoczyńska’s ambitious but flawed biographical feature.
Verena Paravel and Lucien Castaing-Taylor’s humanist portrait of care, surgery and technology is one of the highlights of Cannes 2022.
A narcissistic couple engage in a constant game of one-upmanship in Kristoffer Borgli’s disappointingly one-note feature.
David Cronenberg’s return to filmmaking can’t quite deliver on its promise that surgery is the new sex.
A teenage cartoonist searches for authenticity in writer/director Owen Kline’s pleasingly grubby debut feature.
By Ed Gibbs
This multi-sensory look at David Bowie’s life and career is an all-consuming affair that explores and safeguards the man’s legacy.
A police detective forms a dangerous bond with a woman suspected of murdering her husband in Park Chan-wook’s swooning crime drama.
By Steph Green
Valeria Bruni Tedeschi mines her memories attending the prestigious Théâtre des Amandiers for this nostalgia-soaked drama.
By Mark Asch
Annie Ernaux and her son David piece together a magical home movie essay on marriage, motherhood and the whole damn thing.
A family’s quiet mountain life is disrupted by the arrival of a relative in Lea Mysius’ beguiling second feature.
By Steph Green
First-time director Charlotte Le Bon draws out sweet performances from her young co-stars in this idyllic coming-of-ager.
Gina Gammel and Riley Keough’s debut feature focuses on two Oglala Lakota teenagers as they come of age in South Dakota.
By Mark Asch
Ethan Coen’s solo debut effort is a ribald and energising archive montage on the life of taboo-busting rocker, Jerry Lee Lewis.
Ali Abbasi’s harrowing Iranian noir tells the true story of Saeed Hanaei, who murdered 16 female sex workers between 2000-2001.
Romanian director Cristian Mungiu returns with a superb social realist western with its finger on the erratic pulse of Europe.
Davy Chou’s bittersweet comedy of a Korean adoptee searching for her biological parents is powered by a dazzling lead performance.
A young model couple find themselves on the holiday from hell in the latest provocation from Sweden’s Ruben Östlund.
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.
