By Xuanlin Tham
Ryusuke Hamaguchi's ecological drama about a small mountain village threatened by a new development is a haunting, glacial depiction of the gulf between capitalism and environmentalism.
William Friedkin's final film sees Jason Clarke act as a reluctant naval lawyer in a highly irregular case, attempting to prove the innocence of a sailor accused of mutiny.
David Fincher and Se7en screenwriter Andrew Kevin Walker reteam for a thriller about an assassin whose bad day at the office has nasty ramifications.
Across three timelines, a pair of lovers find each other again and again in Bertrand Bonello's ambitious, genre-defying latest.
Harmony Korine ushers in a new experimental tack with his purposefully off-putting infra-red assassin film, which attempts to gamify cinema.
Bradley Cooper's much-feted drama about legendary composer and conductor Leonard Bernstein proves an underwhelming exercise in by-the-book biographical drama.
Yorgos Lanthimos reunites with his Emma Stone for a lavish and lewd romp through a steampunk vision of Europe.
Wes Anderson adapts his second Roald Dahl story, this time into a rather delightful short with some beautifully rendered theatrical set pieces.
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.
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.
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.
