Pedro Almódovar’s first English-language feature, starring Julianne Moore and Tilda Swinton as reunited friends, is a jewel-toned tale of medical autonomy. 

Maura Delporo's period feature set in a remote Italian village with a large cast of characters, has heart but not enough soul.

From Venice Film Festival, a first look at Pablo Larraín's biopic about the legendary opera singer Maria Callas, the third instalment in the director's unofficial trilogy of misunderstood icons of the 20th century.

Yorgos Lanthimos's follow-up to Poor Things is a return to the Greek director's weird roots, says Anna Bogutskaya.

Coralie Fargeat's second feature is a Cronenbergian tale of fame and ageing. Despite it's exhilirating body horror, the film is hollow at its core, says Iana Murray.

Francis Ford Coppola's decades-long passion project, fails spectacularly—though it's not without meaning.

Lorcan Finnegan's splashy follow-up to Vivarium and Nocebo offers one of Nicolas Cage's best performances.

Cannes Film Festival's inaugural film, The Second Act by Quentin Dupieux, is a film about a film which ultimately falls a bit flat, writes Andy Hazel.

Playing in Competition at the 2024 Cannes Film Festival, The Girl with the Needle is a powerful and macabre tale that confirms Magnus von Horn as a major talent.

Agathe Riedinger's debut film, Wild Diamond—in competition at Cannes Film Festival—excavates social media culture, but despite its glittering premise, fails to live up to its potential.

Ariane Labed's September Says—competing as part of Un Certain Regard—is a compelling debut feature from a director who should go on to greater things.

Mikey Madison lights up like a firework in Sean Baker’s Anora, in a performance that we’ll be talking about for years to come. 

Jacques Audiard's subversive musical is deservedly pegged to win the Palme d’Or.

Sixth gen Chinese filmmaker Jia Zhangke repurposes his own archive imagery to create a moving tribute to his wife and muse Zhao Tao, all the while commenting on how China has changed over the years.

La Pampa is a sensitive, spirited and quietly profound film that establishes Antoine Chevrollier as a promising filmmaker.

Hong Sang Soo’s third film with Isabelle Huppert is a rhythmically structured drama that explores the performance and perambulations of the everyday. 

Susan Finlay reviews Mati Diop’s ‘Dahomey’, a searching documentary about the repatriation of colonial artefacts to Africa. Watching from a controversial edition of Berlinale, she finds Germany's contemporary politics are brought to the fore.

Annie Baker's quiet debut feature explores the dynamics between a carefree mother and her questioning daughter.

A collaboration between Basel Adra, Hamdan Ballal, Yuval Abraham and Rachel Szor, this urgent documentary about life on the West Bank explores the resistance of memory to obliteration.

Rose Glass's sophomore feature is destined for cult status, writes Matthew Turner

Steve McQueen's 4-hour documentary about the Nazi Occupation of Amsterdam is demanding and formally simple, but not without great beauty.

Andrew Haigh's queer drama is devastating, and all the more beautiful for it.

A gem from Italy's most exciting contemporary filmmaker.

Jonathan Glazer's Holocaust drama is an audio-visual masterpiece that lays bare the pitch black soul of humanity.

Andy Hazel gives a first-look review at the Cannes '23 opening film 'Jeanne Du Barry'

Harrison Ford's titular hero is back.

Hirokazu Koreeda's latest is an empathetic tale of friendship and grief that wades through muddy waters to uncover innocent truths.

Molly Manning-Walker's impressive debut How To Have Sex quickly becomes a dark lesson on the fine line between consent and sexual assault.

It's the star-studded movie of this festival—and Anderson's latest, most mature, venture has a lot to love.

Korean maestro Kim Jee-woon's latest is a wacky comedy that stretches itself a bit too thin.

Garth Davis' third feature can't be saved by its charismatic stars Saoirse Ronan and Paul Mescal

Continuing his 1980s Proletariat series, Aki Kaurismaki's socially conscious rom-com feels strangely stuck in time while tiptoeing around Ukraine.