Awash with devastating candour, The Chronology of Water (2025) marks a bold and fully realised directorial debut from Kristine Stewart. 

Happyend is a visually and sonically rich experience that proves its place in the accomplished subtlety of Japanese cinema.  

Many films could be described as dream-like, but few embody the truly indecipherable logic of the subconscious like Sanatorium Under the Sign of the Hourglass

Les Rendez-vous d'Anna follows the tranquil, lonely odyssey of Anna Silver, a filmmaker travelling across Western Europe to promote her new film.

it is a delight to see The Toxic Avenger uncut and in its full glory after two whole years sitting on the post-festival shelf, and if it also ends up getting more eyes on its ‘84 cousin, I'm all here for it.

Trains takes us back in time to the height of the steam train era, warts and all.

The Thread is an understated courtroom drama that is guaranteed to leave you questioning absolutely everything by its end.

This new The Naked Gun is something worth being grateful for.

Zak Hilditch’s We Bury the Dead is a moody, slow-burning horror drama that leans into atmosphere and emotional weight over cheap thrills - and for the most part, it works.

Genre fans looking for a siege of monsters and otherworldly horrors may come away disappointed, but those looking for a more cerebral and borderline ethereal experience will likely find themselves embracing the film and its scrappy charm.

Every once in a while, a film manages to thread the needle between nerve-shredding horror and sharp, genuinely funny comedy without ever feeling forced or careless. Zach Cregger’s Weapons is resoundingly one of those rare beasts.

Chain Reactions is a celebration of the 50 year anniversary of The Texas Chain Saw Massacre.

Iron Winter highlights the hardships for Mongolian herders who will often spend months travelling through the frozen terrain to find areas for their horse herds to graze, while trying to protect them both from the weather and the wolves. 

Musicals and apocalyptic fiction don’t make for particularly common genre pairings, but in his debut fiction work, aptly titled The End (2024), Joshua Oppenheimer fuses the two to Frankensteinian effect. 

If you want a reality check on the privileges usually taken for granted in life, Lucky Lu is an interesting piece of art that feels personal and difficult to go through in less than two hours.

Sarah Friedland’s […] contemplative directorial debut, Familiar Touch, [is] a delicately woven 91-minute meditation on memory, ageing, and identity.

On Swift Horses explores the intersecting relationships of its principal characters but proves too ambitious, stringing together more narrative threads than its two-hour run time can support.

For the most part […] Freakier Friday succeeds as a sequel and will delight fans both old and new.

Together explores the cracks and crevices, the dark and dirty parts of relationships, asking the questions that we’re too afraid to ask ourselves

Number 24 is a heart-touching and thought-provoking exploration of the consequences of war, and ultimately philosophical in a quintessentially Nordic way.