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Ana Cristina Benítez’s "MAMA" (2025) searches deep into her recesses in the wake of her late-stage breast cancer diagnosis. Just back from a trip, the 36-year-old Ana is carted into the most unexpected life, rife with chemotherapies and drastic upheavals. Everything she’s known about life becomes vulnerable, testy, and fraught. She takes a camera and begins to record everything that’s happening to her.

This is honest, wrenching work from Benítez. When she says she wants to turn the camera on herself in all her growing discomfort, "MAMA" never doubles down on it or renders that as a diminutive, trifling, empty assertion. Her body is changing, and she never cuts away from the ‘uglier’ abscesses of the chemotherapy. There are many times when doctors and authorities state she can’t bring the camera in; she keeps pushing back.

Through it all, the camera remains a constant friend, testament to the varied, tumultuous shifts in her life. There’s a vastness of love she receives from her parents, but they can never be enough to offset the harrowing vicissitudes, the specificity of her experience.

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“Hesitation Wound” (Original title: Tereddüt Çizgisi, 2023) is less a legal thriller and more a quiet, simmering study of a moral crossroads. Directed by Turkish filmmaker Selman Nacar, “Hesitation Wound” follows Canan, a criminal lawyer (played by Tülin Özen), who is defending Musa (played by Oğulcan Arman Uslu)—a man accused of murdering his former boss.

While Canan is in the process of defending her client, she’s also dealing with a deeply personal crisis: her mother is in a coma, nearing death. As these two worlds—professional duty of saving a man’s life and emotional vulnerability of seeing her mother’s slow death up close—begin to overlap, she makes a choice that impacts not only the case but her identity as a lawyer, and as a person.

The first act of the film focuses on the beginning of an important day in Canan’s life. We observe what she does, who she is, and what burdens she carries. The tone is observational, almost procedural. She handles everything on her own, taking care of her mom, preparing her statement, searching for the key witness, and even taking risks by leveraging her authority and legal expertise to postpone the court session. It all feels like too much for one person to bear in a single day, and yet she presses on, even when the odds seem stacked against her.

The film offers no exposition about Musa’s backstory or why Canan is so committed to defending him. She appears purely professional—neither emotionally entangled nor motivated by ego, ambition, or financial reward. Her resolve stems not from a desire to win but from a belief that her client deserves a fair shot at justice, trying to save a man’s life. The choice to leave Canan’s full backstory untold works in the film’s favour. It keeps the narrative tight, free from distractions, and allows space for interpretation and moral ambiguity.

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Jasmina Wójcik’s “King Matt the First” is an enthralling peek into childhood’s many pleasures. The taste of them may linger on even if the spirit has mostly receded. The film is a tussle with eventual loss, arcing from innocence to beguilement. So much blurs away with only a faint echo of the past. One clutches onto it, the grasp slipping.

Circling her two young daughters, Lea and Zoja, Wójcik’s film puts a gentle, searching gaze on the shifting, sparkling expanse of their thoughts, whims, and fancies. Lea reiterates not wanting to grow up. When people grow up, they forget to have fun, she adds, tinged with deep regret. Though the children say they don’t understand the melancholy that they see in adults, it washes over inevitably. It comes in the not-so-desired rhythms of life crashing on one, familiar sensations replaced by new ones dripping with adult awkwardness, emotions, and hormones caught in a mess. How does one deal with this onslaught of alien feelings?

Chief among the film’s pleasures is to partake in Jakub Wróblewski’s luminous camerawork. Nature is key to its rich imaginative, inner world, a boundless sense of freedom and bubbling life-embracing curiosity stealing through every frame. Weaving an immersive network of sights, Wróblewski’s camera traces each leaf, a flower, fruit’s lusciousness—embedded in the super-sized allure nature holds to the children. In its sensual engagement with the elements, the film creates an intimate space.

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Many movies have dealt with the period of the French Revolution, since it was a pivotal era in history, full of compelling stories that can be told at any time. Those films usually focus on the harsh life of poverty and hunger endured by the French people under the rule of King Louis XVI, or on the lives of Enlightenment thinkers and revolutionary leaders.

But the French film “Ridicule” (1996) is considered one of the most important movies that tried to make us understand why the Revolution happened in the first place, and why things took such a different turn—not by showing us the people’s suffering, but by focusing heavily on the noble society itself, especially on the idea of ridicule and the pranks they played on each other, which occupy the central space in their lives.

Director Patrice Leconte’s focus on that precise point reflects how trivial that class was, as they lacked anything meaningful to occupy their time. But don’t be fooled—just because this film revolves around jest and frivolity doesn’t mean the movie itself is comedic or silly. On the contrary, I would argue it is one of the most magnificent historical films ever produced in the 1990s.

The film’s atmosphere, costumes, and sets are crafted so professionally that they immerse you in the world of Versailles in the eighteenth century. The film was nominated for the Academy Award for Best Foreign Language Film and a Golden Globe, and it won four César Awards, which are ’s most prestigious film honors.

The events of the film take place in eighteenth-century under King Louis XVI. It follows the story of Grégoire Ponceludon de Malavoy (Charles Berling), a nobleman whose lands lie in a remote area mostly covered by polluted swamps where cholera spreads wildly due to mosquitoes. Most residents of the region die in their mid-thirties. In his role as a hydraulic engineer, he devises plans to drain the swamps by building dams and digging canals, but he lacks the funding and is nearly bankrupt.

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It would be hard to believe that “A Desert” is Joshua Erkman’s feature-length debut. The kind of masterful buildup the first act of his film manages to conjure up is no short of brilliant. Taking inspiration from Hitchcock’s “Psycho,” David Lynch’s “Lost Highway,” and Tobe Hooper’s “Texas Chainsaw Massacre” with an original visual language to accompany those subtle nods, Erkman’s slow-burn horror has a sense of mystery that keeps you engrossed. However, it also slides away so much from where it’s aiming that much of it gets diluted as the narrative progresses into anti-narrative territory.

It all begins with Alex Clark’s (Kai Lennox) off-road adventure. He is an old-time photographer whose weapon of choice is an antique camera—the ones we only see now in period films. We get little to no introduction to him. Still, his communication with wife Sam (Sarah Lind) allows us to understand that he was once a great landscape photographer whose work has dried out like all the artists who weren’t ready for the transition into digital. We know that he has embarked on this solo road-trip to get ‘intentionally lost’ in the landscapes out north – something that he wishes to capture on film for a project that will help him revive the emotional side of his hustle again.

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India’s presence on the European film festival circuit has been relatively–and worryingly–muted, especially given the nation’s seismic, almost self-sustaining movie industry. It appeared as though this might finally begin to change in 2024 when Payal Kapadia’s masterfully tender “All We Imagine As Light” broke through the barrier of the Cannes competition after a 30-year drought and emerged as a major standout through the rest of the season (in addition to the from “Santosh” in the Un Certain Regard section). But one calendar year later, it appears as though we’re right back where we started; back in Cannes, one lone Indian film appears in a secondary sidebar, left adrift in a sea of Euro-American dominance.

At least this time, the film comes from a director with experience in this arena, as Neeraj Ghaywan’s debut “Masaan” was given the same Certain Regard treatment just a decade ago as his latest “Homebound” is now. Once more, the filmmaker’s soft approach to the interpersonal hardships of caste discrimination takes the forefront in a story whose basic framework remains steadfast in its dramatic push, if somewhat staid in its delivery.

Set in a small North Indian village, “Homebound” features a pair of lifelong Muslim friends, Chandar (Vishal Jethwa) and Shoaib (Ishaan Khatter) in their attempts to pursue a lifelong dream of becoming police officers. From the very start, Ghaywan paints this goal as an extremely popular career play, as the train station greeting applicants is absolutely flooded to the brim with idealistic young men and women eager to take the entrance exam.

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Needless to say, remaking one of the greatest films of all time by arguably the greatest filmmaker of all time for an American crowd is a recipe for probable cinematic sacrilege. Add to this the fact that the American doing the remaking happens to be a director who’s already famously desecrated one classic of Asian cinema, and the prospects for Spike Lee’s “Highest 2 Lowest” appear rather dim from the outset.

Fortunately, while his rehash of “Oldboy” was the work of a man clearly indifferent to his product, his reinterpretation of “High and Low” indicates a man who knew what made the original work, and what else could benefit from a modern update.

In a sense, “Highest 2 Lowest” can very well describe the trajectory of Lee’s entire career—a man who, over the course of his storied history, has made unimpeachable classics in between baffling misfires—but through it all, the charm of an unrestrained visionary pushing his ideas to the limit has remained a defining element of his time as a seminal American artist. In taking on a beloved Japanese thriller given decades of exaltation, Lee has once again found himself with a daunting personal challenge; this time, the stakes are matched by an enthusiasm to meet them head-on and stamp his own Spike-isms all across the screen.

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Sandra Beerends’ “Neshoma” is an invocation of a bygone era, lives endured and lost, by turns wondrous and affecting. A real panoply of emotions bubbles to the fore as we are invited into the life and times of a fictional woman called Rusha. Culled from a compendium of Jews’ memories, lived experiences, Rusha’s experiences are an encapsulation. As persevering and resilient as she is, there are also multiple surprises that she encounters.

They could have run her down, but she chose to soldier through. Placed against a largesse of archival footage, Rusha is introduced as a teenager in Amsterdam with a promising future before her. Daniella Kertesz’s extensive voiceover stitches the film into a coherent form. Sprawling over several years, “Neshoma” props up the conceit of letters that Rusha writes to her brother Max, who’s away in the Dutch East Indies. Chess moves, bookending the letters, become a promise of further communication, a relationship nurtured over time and honed with due attention.

We witness a community spread through a flowering resolve. The documentary picks up the Jewish narrative in the wake of the first world war. Debris are still fresh but there’s an optimistic surge. The Jewish community slowly but surely seeks to head into carving out its place. Things seem to be proceeding with a tinge of determination. Along with Rusha’s testimony is splayed a vivid, immersive portrait of her community.

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My first brush with the anthropomorphic rendering of everyday objects was, in all probability, through the wildly popular children’s TV show “Blue’s Clues.” In “Blue’s Clues,” the host, the only human character, invites his audience to an eccentric world where everyday objects like a mailbox, a soap, a clock, and a line of pepper and salt shakers sing, talk, feel, and even reproduce! Subversion and unpredictability are particular features of this imaginative world created solely for children.

Rohin Raveendran Nair’s MAMI Select: Filmed on iPhone short film, “Kovarty,” shares little of the mentioned American show’s cultural circumstances and bears little similarity with its distinctive intellectual energy. However, it is not surprising that the short film tugs on the memory of the show, for both of them locate the grand gestures of life in the modest, ubiquitous materials. What sets “Kovarty” apart is Nair’s finely tuned creative tact in deploying and using the point of view of its protagonist, a typewriter. However, upon scratching the surface of the previous analogy, I find for “Kovarty” a better companion.

It is also undeniable how “Kovarty” consistently echoes the insistent ideological propensity of Vladimir Mayakovsky’s work. In his play, “Mystery-Bouffe,” machines are endowed with life: they are the actors of the Promised Land, “the Communist paradise of material plenty on earth.” Mayakovsky recognizes the true kinship amongst the proletariat and the machines and their intrinsic ties to the question of revolution.

In the preface to his socialist play, he writes, “In the future, all persons performing, presenting, reading or publishing Mystery-Bouffe should change the content, making it contemporary, immediate, up-to-the-minute.” Nair’s half an hour long “Kovarty” unknowingly and partially lives up to the testament of the poet.

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Movies about hijacked planes or runaway trains are nothing new. The concept of a speeding vehicle wired with a bomb that detonates if it slows down immediately brings to mind Speed (1994) or the original Japanese thriller The Bullet Train (1975). Bullet Train Explosion (2025) is no exception to this familiar template. Yet, director Shinji Higuchi makes an effort to ground the story in realism, crafting a tense, drill-like simulation—with logical possibilities that could only happen, well, in movies.

The film follows the East Japan Railway Company’s bullet train, Hayabusa 60, as it speeds from Shin-Aomori to Tokyo. Somewhere along the four-to-five-hour journey, a bomb is secretly planted onboard without the crew’s knowledge. If the train’s speed drops below 100 km/h, the bomb will detonate. The perpetrator demands a ransom of 100 billion yen. How the bomb is handled—and how the people aboard a train running over 260 km/h survive—is the premise of Netflix’s latest Japanese thriller, tinged with a healthy dose of corporate propaganda.

Takaichi (Tsuyoshi Kusanagi) is the head conductor of Hayabusa 60—a man of deep principles, experience, and quiet professionalism. He loves his job not out of ambition, but pure ion for the train itself. In an early scene, he gives a tour to schoolchildren, delivering a philosophical answer when asked why he chose to become a conductor instead of a driver. It leaves the children puzzled, but gives the audience a glimpse into the film’s deeper emotional core.

In contrast, his assistant Keiji Fujii (Kanata Hosoda) is young, ambitious, and eager, but less seasoned. Rounding out the key crew are Matsumoto (Non), the most cautious and paranoid driver imaginable, and a female conductor. Matsumoto spends much of the runtime glued to the driver’s seat, hands tense over the accelerator and brake, her face a mask of mounting panic.

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Director Kalyan Shankar’s follow-up to his 2023 comedy “Mad” is neither fun nor funny. Titled “Mad Square,” with square as in the algebraic expression, the Telugu film is supposed to multiply with itself. It is understandably an effort at exaggerating the entertainment quotient of the sequel. With a string of bland, repetitive gags coming one after another, “Mad Square” is one flat joke. There is very less to feel entertained by, but a whole lot to be ‘mad’ about. To quote Math, instead of raising to the power of two, the film should have subtracted itself from itself.

The sequel places itself some four years after the events of the first film. With a nod towards the engineering college setup of the first film, “Mad Square” shows a band of engineering students being taken to a high-security prison. It is baffling why those students, possibly taken in for unruliness or some petty misdemeanor, are thrown in together with hardened criminals. But it is not that kind of movie.

So, this Reacher-like setup is simply a plot device to throw a curveball towards the audience of the first film. Through the eyes of these engineering boys, we find Laddu (Vishnu Oi) is in jail. So, it piques your interest to see the beloved character from the first film, the friend of the ‘MAD’ gang, in jail.

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Robbie Grewal and Kookie Gulati’s “Jewel Thief: The Heist Begins” is one of the most insufferable films to emerge in recent times. There are bad films, and then there’s something like this, which throws you into existential angst. Has Hindi cinema sunk this low that such capable actors have to do such films — joyless and overtly manufactured and deathly silly-to continue their careers. This film is one of those that everyone involved would likely distance themselves from just a few years down the line. Other than a great offer of money, no other reason justifies anyone choosing to star in this film, especially Saif Ali Khan and Jaideep Ahlawat.

One is an impossible-to-nab world-class thief, the other a dishonourable art collector with an appetite for grotesque violence and swindling. Khan’s Rehan Roy purports to give up on his thieving when he’s ed by his helpless brother, who says their father has been robbed of a ton of money. The father disowned Rehan after an ugly spat when he came to discover Rehan’s shady pursuits. Rehan insisted that if they hadn’t all been so noble like his father, their mother would have had a better operation without a financial crunch. Hence, Rehan had long detached himself from his family, living abroad.

Once again, returning to India, Rehan realizes he has to partner up yet again with Ahlawat’s Rajan Aulakh, who was the one swindling the father. The deal is to steal some expensive African diamonds. What could have been a breezy heist caper turns quickly dull and is almost dead on arrival. To make a heist film work, the thefts and escapes should hold some intrigue, credibility, and a breadth of sustained tension.

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Duncan Skiles’ “Neighborhood Watch” (2025) shows a cranky old man teaming up with an anxious young man to solve a mystery about a kidnapping case. Although an investigative crime thriller, it is just as much a buddy dramedy that follows the tropes of the latter genre. It shows these two characters as an unlikely duo that slowly warms up to each other’s company. That might be a treat for ‘The Boys’ fans who barely saw these two together in the show. Their dynamic here is much more subdued, and their performances are more grounded than in the heightened satire.

Jack Quaid plays Simon McNally, a 20-something man who seems like a version of Hughie Campbell. He is just as reserved and emotional, and often seems just a few moments away from breaking into tears or a scream. However, unlike Hughie, Simon’s fears are rooted in a traumatic childhood that offered him more challenges than a child could handle. So, he has grown socially anxious and unable to work through his life like a responsible adult. With no parent in sight, his sister DeeDee (Malin Akerman) becomes his partial caretaker and system.

Simon hears voices in his head that make it nearly impossible to get over his trauma. They limit his skills and keep him at odds with reality. He doubts anything and everything he comes across, unsure whether it’s the truth or a figment of his imagination. In that mental state, he spots a young woman getting abducted in broad daylight. Despite his best efforts to report it, he cannot convince others that he actually witnessed it. That’s when he seeks help from Ed Deerman (Jeffrey Dean Morgan), his retired security guard, who looks like he is always a step away from calling you by the vilest expletives you can think of.

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Dea Kulumbegashvili’s powerful sophomore feature "April" opens up to a creature in a void, lit dimly enough for the viewer to observe its disfigured body. Offscreen, the sound of trickling water is mixed with children playing and cheering. The camera retains its position, unwaveringly static, observing the monstrosity achingly stagger in what sounds like puddles of water. It’s too dark to know what’s happening (or not), so the dread picks up as Kulumbegashvili lets the shot linger in the monster’s oblivion.

The creature (an alien? or a humanoid?) breathes painfully; perhaps it’s not an enemy, and it’s weak and scared and what escapes its mouth are pleas for help. It continues to stagger, achingly moving its limbs in unpredictably slow motions. Phlegmy breathing echoes in the dark, and so do children laughing and playing. Years of cheap horror movies have conditioned the average moviegoer for a gnarly jumpscare, it’s what the scene must be leading to. The shot lingers, and the anxiety peaks, only to cut to a puddle collecting rain. And the scene after it is real footage of a woman in the throes of delivering a newborn.

"April" is replete with scenes whose horror, such as the opening frame, bombards your senses with incomprehensible doubt more than fear — each shot is foreboding, unsettling, some surreal and not, all constructed realities whose connection between plot, more than character, are disparate and hard to judge. One moment we see a field of poppies in a storm, the next a monster in a room.

Add to the fact you're on high alert, courtesy of its excellent audio-visual trickery, and forced to put the pieces of a seemingly straightforward story among a watery narrative. All this makes "April" both frustrating and rewarding to watch — it demands everything and nothing from the viewer, with each frame more perplexing than the next. But in the end, Kulumbegashvili’s frames stir a profoundly intellectual whiplash that subtly racks your brain long after the credits spell.

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Although great novels do not always translate perfectly to the screen, using a profound piece of literature as inspiration is rarely a mistake. Many of the hardest aspects of storytelling are crafting characters with interiority, developing a world that feels like it could exist beyond the confines of the specific narrative, and detailing a time and era that informs the context of the situation.

As a novel, “On Swift Horses” may have been pitched as an attempt to recapture the spirit of the “Great American Epic,” as there are innumerable comparisons to be made with the work of William Faulkner, John Steinbeck, and F. Scott Fitzgerald. As a film, Daniel Minhan’s directorial debut is absorbing and understated, even if it often feels overexerted in trying to bring to life every detail from the page.

Set amid the Korean War, “On Swift Horses” explores the lives of the veteran Lee (Will Poulter) and his lover Muriel (Daisy Edgar-Jones), who agrees to marry him after a ionate plea to start a new life together. Although Lee believes that they have a future together in San Diego, the dynamics of his relationship with Muriel are subverted upon the return of his brother, Julius (Jacob Elordi), a charismatic card shark who wants to travel to Las Vegas.

Although they end up going their separate ways, Muriel and Julius share a brief moment of intimacy that offers them an escape from the societal boundaries that hold them back. However, their respective journeys to find new homes led them both to ask fundamental questions about their identities.

“On Swift Horses” is novelistic in every sense of the word. Between recurring symbols that speak to the characters’ societal status, the breathtaking visuals of the American landscape, and the divergent story structure, the film is dead set on reaching a poignant conclusion, which at times is a fault.

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Those unacquainted with Kleber Mendonça Filho’s particular tonal may find themselves bewildered that a film titled “The Secret Agent” The Secret Agent (O Agente Secreto, 2025) may be anything other than a conventional, tightly wound political thriller. Those of us familiar with his languid, context-dependent Brazilian works, meanwhile, can only be left to smirk at just how far the critic-turned-filmmaker is willing to take his alienating tactics in service of a greater framework that yields, up to now, his most challenging and rewarding results yet.

As the Brazilian public continues to reckon with the reverberating traumas of a military dictatorship (ed by the United States, for the record) that lasted a grueling 21 years, the nation’s cinema continues to reflect the ion of a people whose widespread pride in their endurance has only proven more and more poignant in a global landscape so willing to backslide into conservative chaos. “The Secret Agent,” on that front, proves a potent examination of just how unassuming—and, consequently, life-threatening—the scales of power can be for those who find themselves opposing repression in even the most modest of ways.

“The Secret Agent” begins as Marcelo (Wagner Moura, finally returning to his Brazilian roots after a hefty detour in American cinema and TV) pulls into a gas station on his way to his childhood hometown of Recife in Northern Brazil. A dead body lies a few feet away, covered lazily with a piece of cardboard; the station attendant is not allowed to move the body, but the cops haven’t shown up in the days since the death was called in. When they finally arrive, all they can be bothered to do is check on Marcelo to see if his papers are legit.

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One of the most quietly quintessential American directors of our time, Kelly Reichardt has cemented her position on the international festival arthouse scene largely by way of a consistent, unassuming deconstruction of genre. Oftentimes, this comes with an unmistakable feminist slant, at once casual in its presentation and radical in its implication—a point worth noting given Reichardt’s position in a festival scene largely male-dominant—but with “The Mastermind,” the director foregrounds the masculine quest for capital to paint a view of America headed towards its lowest point.

A director who once described her masterful “Meek’s Cutoff” as “A Western from the perspective of the woman who pours John Wayne’s coffee,” there’s no denying that the deconstruction of how different genres uphold masculine power structures are a real point of fascination for Reichardt; westerns, historical dramas, espionage thrillers, road movies—even the story of a struggling artist caring for a wounded pigeon can be viewed as a play on auteurist self-reflection that the male-headed festival scene would adore.

With “The Mastermind,” Reichardt shifts her sights towards her most conventional genre examination yet, but every second of it rings with her usual serenity that underpins a sinister tension at the highest levels of society.

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Sivaprasad’s “Maranamass” shoots off from a serial killer who targets old people and leaves a banana as his defining trace. He lets loose a string of manic unrest in Kerala. The needle of suspicion spins in several directions, especially towards the good-for-nothing, Luke (Basil Joseph). He is the ‘sigma male’ whose trail of erupting public disorder is well-known.

A YouTuber, he proclaims to do whatever he does for the well-being of the community, no matter if it brings a lot of headaches and recklessness. He’s being sent off to Czechoslovakia, so he says, so that he can no longer bother anyone. He’s also in a complicated situation with his on-off girlfriend Jessy (Anishma Anilkumar). She’s clearly fed up with him and doesn’t want to have anything to do with him, but he’s insistent on being around. He wants to show he’s available for every need of hers.

The serial killer’s identity isn’t dangled as a secret in the narrative; rather, you are made privy to his agency and commitment to his crimes. The screenplay, written by Sivaprasad and Siju Sunny, features a bus driver (Suresh Krishna), a bus conductor (Siju Sunny). The former is on the anvil of marriage, the latter still pining for his long-lost father. There’s even a police officer nursing psychological issues. He’s mourning his lost dog and is also involved in searching for the serial killer. However, the film is so absorbed in its comic impulses that it entirely sidelines or, rather, forgets the investigation, pushing it to the periphery.

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Entertainment—sometimes, just like God—works in mysterious ways. It’s like throwing spaghetti at the wall; you never know what trends will stick and which will not. There’s a very good argument to be made that when YouTube Red ( that?) launched a sequel to “Karate Kid,” the chances it would last more than one season were very low. Damn! The chances that this new venture on YouTube will last very long were even lower.

In theory, it sounded like a great idea; then again, when you get something for free, it’s hard to convince people to pay for it despite all the best efforts. Six seasons later (one could argue they were at least a season too long), “Cobra Kai” proved to be so much of a success. Its blend of teen soapy melodrama and some solid fight choreographies was quite engaging. There are very few shows that had me binge-watching the whole thing in pretty much one sitting.

All of this prelude leads us to the first movie in the “Karate Kids” franchise in 15 years, in which we follow, you guessed it, a new “karate kid” (though just like Jaden Smith’s lead entry, he also does kung fu and other forms of martial arts), Li Fong, who moves from Beijing to the Big Apple to start a new life with his mother, played by the great Ming-Na Wen.

After the ing of his brother, her mother forbids him to get himself into any fighting, but this is a Karate Kid so obviously this doesn’t last very long as he falls in love with a girl who, of course, was dating a bully who also happens to be an ace in the martial arts, even more than our lead. But don’t go expecting a Johnny/Daniel situation here; this dude is truly a goon. As events unfold, Li finds himself entangled in a tournament that will determine the fate of his newfound friends.

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While the words “trauma” and “grief” are often overused when discussing the horror genre, writer/directors Danny Philippou and Michael Philippou delivered an interesting twist on the concepts with their astounding directorial debut “Talk To Me,” which explored acceptance and obsession in a haunting manner.

The brilliance of “Talk To Me” was in its specificity, as the Philippo brothers were able to create a unique vision in which “speaking to the dead” was made into a tangible plot device. “Talk To Me” wasn’t just impressive as a small, independent project that made use of its limited resources; it was also genuinely surprising how graphic, and often cynical the duo allowed themselves to be with a debut feature.

Their follow up film, “Bring Her Back,” is even more disturbing on a visceral level, its ability to unify the original mythology with compelling characterization leaves something to be desired. “Talk To Me” may not have cared much about explaining the “rules” of its supernatural threat, as the pain felt by its characters was enough to carry the story. “Bring Her Back” certainly features some compelling characters, but often falls into cliche when it makes its key revelations; themes of abuse, loss, and gaslighting are depicted rather conventionally, especially when compared to the creativity on display in the moments of gore.

“Bring Her Back” is the story of the step-siblings Andy (Billy Barratt) and his stepsister Piper (Sora Wong), who are forced to enter a foster care program after Andy’s father unexpectedly dies in an enigmatic accident. Although Andy is nearly close enough in age to be Piper’s legal guardian, he has to convince the legal system to allow them to stay together.

The two are paired with the upbeat foster mother Laura (Sally Hawkins), who is herself grieving the loss of her own daughter. Although Andy and Laura are at odds with one another from the beginning, he tries to maintain a sense of comfort in order to ensure that Piper is comfortable; this tense agreement is further threatened when Andy finds his new guardian’s behavior to be increasingly erratic.

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For the longest time, I’ve always wondered what bravery means, especially in cinema. Is bravery trying new things with filmmaking? , Is it making art almost selflessly at a great personal and physical risk? Is it saying the quiet part out loud not knowing the consequences? Perhaps it’s knowing what you’ll face, what wrath awaits and committing regardless.

During the 78th Cannes Film Festival, there were many films you could call powerful, but only one felt brave. Shot in secret without permits around Tehran and Iran, while also being in defiance of the head covering rule. A Simple Accident (Original title: Yek tasadef sadeh, 2025) is cinematic political resistance in the purest form, a film that left me slack-jawed and dumbstruck when the credits hit. This is Panahi’s first film as an unrestricted man after years of torture and torment from Iranian authorities.

After accidentally hitting a stray dog with his car damaging his engine, an Iranian family man with a prosthetic leg gets kidnapped by Vahid. A mechanic who believes that the family man is Peg-leg a once notorious torturer for the Iranian regime who ruined Vahid’s life. Vahid ends up kidnapping the man but isn’t sure if he is Peg-leg causing him to bring in other victims of Peg-leg’s barbarity to figure out if this is the demon behind all their nightmares.

The motley crew of ex-detainees of Peg-Leg that Vahid assembles includes Shiva a wedding photographer, Goli and Ali a couple in the middle of their wedding photos and Hamid an erratic and angry worker. The collection of odd characters is now left weighing up the morality of what they might have to do if the man sitting in the trunk of the van is indeed Peg-leg but also the conundrum and guilt they face.

What if he isn’t Peg-Leg and they’ve just kidnapped a family man with a heavily pregnant wife? The film takes place over a day with tensions rising as every second es as the characters start to wonder what to do, but also what this thirst for vengeance has turned them into. What follows is an incredible balancing act that is mournful, funny and incredibly angry.

Panahi has never been one to shy away from directly challenging the Iranian government through cinema. Most of his work, however, would blur the lines between documentary and fiction, even his prior film No Bears (which stars Panahi) was made when he was prohibited from filmmaking and follows a director trying to make a film in secret, despite the ban.

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A drunken night of teenage debauchery ends with a couple sneaking off from their wild rager to get freaky out in a remote farmland pasture (as you do). They stumble out, horny as all hell, as the boy lags behind, no longer hearing the enthused calling of his would-be conquest; out of nowhere, a deadly clown pops out with a pitchfork and paints the cornfield with his blood. Cue the title card: “Clown in a Cornfield.”

This is just about the level of bluntness you’re in for with Eli Craig’s latest secluded slasher, and while the director’s resume—namely, his work on “Tucker and Dale vs. Evil”—would incline you towards an expectation of comedy sprinkled among the kills, you may be surprised to find how much social commentary lies at the core of this Adam Cesare adaptation. That said, “Clown in a Cornfield” makes no pretenses about aiming high with the detail of its societal observations. The film is happy enough to spell it all out for you, and hopes you’re happy enough with its lukewarm thrills to be impressed with its willingness to say anything at all, no matter how late to the barnyard party it truly is.

Our first scene after this opening kill introduces us to Quinn Maybrook (Katie Douglas) and her father (Aaron Abrams) driving into the remote midwestern town of Kettle Springs. Quinn’s father has just taken on a job as the local doctor, and her acclimation to these new isolated surroundings proves challenging for a 17-year-old adjusting to single-parent life in a new town. It doesn’t take long, however, for Quinn to make some friends with the local troublemakers, and even less time for her to realize how easy it is for this crew to get on the bad side of the local adults.

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Expectations couldn’t possibly be higher for Trier’s follow-up to “The Worst Person in the World,” and if initial word-of-mouth is to be believed, “Sentimental Value” (Original title: Affeksjonsverdi) has more than delivered. Maybe—just maybe—the overwhelming sweep of Palme d’Or buzz (culminating in an eventual second-place Grand Prix win) and annual NEON exhalation might be due in part to Trier’s chosen approach that has resonated with the artistic crowd: healing through the artistic process.

Yeah, this is gonna be one of those movies, and given Trier’s Bergmanian touches to the overlap of life and art, it might not be presumptuous to compare “Sentimental Value,” in some way, to Mia Hansen-Løve’s own art-reckoning project “Bergman Island.” In Trier’s case, the attempted reconciliation takes on his usual millennial quirk in such a way that sometimes risks diverting the emotional power of the ideas he’s working with—the same issue clung to his previous film—but like Hansen-Løve’s film, “Sentimental Value” posits that if art is a living, breathing thing, then like life itself, there may be no satisfying resolutions to be found at all.

Taking the lead for Trier’s view of millennial angst, once again, is Renate Reinsve as Nora, a theatre actress who, alongside her estranged sister Anna (Inga Ibsdotter Lilleaas), is forced to reckon with the sudden ing of her mother. Reentering the picture is the pair’s father Gustav (Stellan Skarsgård), a famous film director who returns to make amends with his daughters after a prolonged absence that had marked their childhoods.

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Wes Anderson is a filmmaker whose trademark style is entirely distinct, drawing both iration and frustration from those who have noted the similarities within his work. Anderson’s symmetrical composition, matter-of-fact dialogue, and hand-crafted architecture may give all of his films a similar aesthetic, but there has been a great diversification within the types of genres that he has tackled.

Within the last decade of his career, Anderson’s ambitions have turned international. “The Grand Budapest Hotel” was a wholesome celebration of a ing pre-war era, “Isle of Dogs” spotlighted the figures of a revolution, and “The French Dispatch” offered an anthology of stories that celebrated the importance of international journalism.

The one exception to this transition was Anderson’s last feature, “Asteroid City,” which reverted to the more familial themes that dominated his early work on “The Royal Tenenbaums” and “Fantastic Mr. Fox.” Anderson’s newest film, “The Phoenician Scheme,” merges this intimate family drama with a rip-roaring adventure that breezes through the spectacle of Old Hollywood. While not quite as emotionally dense as “Asteroid City” or as politically profound as “The Grand Budapest Hotel,” “The Phonecian Scheme” is an encouraging step forward for Anderson, and is also one of his funniest films ever.

While Benicio del Toro is an actor most closely associated with dark, brooding anti-heroes, he is cast in “The Phonecian Scheme” as Zsa-zsa Korda, an eccentric billionaire who tasks himself with determining the future of his empire. Despite having nine sons (including a few that were adopted), Korada decides to appoint his daughter, Liesel (Mia Threapleton), as his heir, even though she is studying to be a nun. Accompanied by the charming tutor Bjørn Lund (Michael Cera), Korda and Lisel meet with many of his co-financiers as they determine how his wealth will be dispersed.

The notion of contract negotiations as a narrative hook may not seem appealing, but Anderson constructed a story in which various actors are given the opportunity to give scene-stealing performances. The pacing in “The Phoenician Scheme” is kinetic, even by Anderson’s standards, as there is an urgency for Korda to slowly win over his fellow investors.

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Guy Ritchie’s ‘Fountain of Youth’ revolves around the Purdue siblings who reunite a while after drifting apart for some unsurprising reasons. Their father was a known explorer. So, they chose to follow his legacy, but their lives took different turns. Charlotte (Natalie Portman) became an art historian, while her brother Luke (John Krasinski) became an art thief. She spends her days at a respectable job in an English art gallery while he secures artifacts for his clients. She wants to use her knowledge to help others learn, while he wants it to benefit a select few who hire him. Apart from that, Luke seeks the thrill and the excitement of the act itself. He wants to explore often for the fun of exploration.

That’s essentially the emotional hook for this Guy Ritchie actioner, written by the ‘Zodiac’ scribe James Vanderbilt. Their characters are driven by the pursuit of the unknown for clearly different reasons. Some want it for personal benefit. Others want to preserve its sanctity. Luke mostly wants to enter the heist for the kicks of it. Charlotte, however, resists because she doesn’t want to get in any trouble. No matter what, their search for the unknown revolves around the chapters of mythology and history. So, the film has a clear case of ‘Indiana Jones’ hangover, which becomes evident even through its promotional material.

It puts these Hollywood stars in carefully coordinated costumes that convey their lust for adventure, especially in the Middle Eastern regions. For them, these places represent a sense of natural mystique, where anything and everything is possible. That leads at least some of the characters to believe that they are on a journey to the sacred Fountain of Youth. It holds immense power beyond human comprehension, which makes it all the more appealing. Ritchie’s film is mainly about this sense of allure that Steven Spielberg’s adventure films are known for. They capture a sense of wonder that kids are usually drawn to.

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I had the pleasure of rewatching Miami Vice the other day and was reminded of what a great experience this film is. I wondered if I’d still enjoy it after years away, but within the first five minutes, I caught myself thinking, “Oh right, this is a classic.” One thing I love about this movie is that it throws you right into the action. It doesn’t hold your hand—you’re expected to let go of any preconceived notions and just ride the wave. You hear a few seconds of music, and suddenly you’re inside a seedy Miami nightclub, right as things are about to get intense. The two protagonists, played by Colin Farrell and Jamie Foxx, carry themselves with a cool, subdued demeanor that feels authentic rather than over the top.

Miami Vice was released in 2006 to a lackluster response, but its appreciation has steadily grown over the years. Critics, filmmakers, and fans have come forward to sing its praises, and I think that says a lot about the depth of this film. What some initially saw as just another disposable Michael Mann movie reveals itself, on closer inspection, to be layered and rich in design. It practically begs for rewatching. I guarantee that on your second or third viewing, you’ll catch details that went unnoticed the first time around.

This may not be Mann’s most famous work—or even his best—but it’s my personal favorite. The cinematography is sublime and ahead of its time. Mann shot most of it using digital cameras, and he places you directly in the thick of things. You feel like a fly on the wall during tense conversations. The spontaneous boat trip to Havana, underscored by a haunting Moby track, is a standout—visually and emotionally powerful. That sequence alone gave me chills. The atmosphere lingers long after the credits roll.

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Paul Feig’s 2016 remake of “Ghostbusters” wasn’t even remotely the disastrous insult to comedy that the misogynistic smear campaign of the time would have you believe—though it would be difficult to classify the film as “good” in any case—but the resulting shit-storm of publicity surrounding its release seemed to have left its mark on the one studio director who saw real comedic potential in Melissa McCarthy beyond cheap punchlines about her weight. This much was apparent in the immediate aftermath, when “A Simple Favor” rolled around as Feig’s answer to the internet chauvinists, switching gears and doubling down on the feminine sensibilities for a sweet and sour twist on the domestic mystery film.

A film that aimed for elegant and delightfully twisty melodrama, Feig’s 2018 adaptation of Darcey Bell’s novel read more like an entire season of daytime soap opera condensed into feature length: too convoluted for its own good and disposable as all hell, but competent enough to a few idle hours. “Another Simple Favor,” meanwhile, comes seven years later and smack in the middle of the streaming era (this one being a Prime Video original), meaning that everything must be more—more lavish, more intricate, and more bloated. What’s decreased in the interim is the willpower to stay invested.

“Another Simple Favor” picks up roughly where its predecessor left off, as part-time internet sleuth Stephanie Smothers (Anna Kendrick) has spun her investigative antics into a successful career of partial fame. Her crowning achievement is the true-crime novelization of her experience with the murderous Emily (Blake Lively); cue the “Previously On…” montage that would have fit right in. It’s at a public reading of this very book that Emily saunters into the room to the flash of cell phone cameras and indulgent slow motion to announce her sudden conditional release from prison.

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Enjoyment of “Nonnas” is dependent on whether or not a viewer is charmed by the notion of “old-fashioned” filmmaking, as Stephen Chbosky’s latest biopic is the type of light-hearted crowd pleaser that Hollywood has effectively abandoned. While it’s squeaky clean, earning the rare PG rating, “Nonnas” is unwavering in its sincerity, as the film explores the feelings of guilt, shame, and depression that can emerge upon the death of a loved one. There are deeper ideas about intercommunity resistance and loneliness among the old people, but “Nonnas” opts to tell a straightforward, inspirational story that rewards the viewers with catharsis. While a cynic may claim that Chbosky has bent a real story into a formulaic Hollywood picture, “Nonnas” coast on the charm of its endearing cast.

Vince Vaughn stars as Joe Scaravella, a construction worker from Staten Island who is dealing with the recent death of his mother, with whom he shared a close bond. Although Joe has a community of friends at his job, he finds that the best way to save himself from feelings of disparity is to cook for his best friend Bruno (Joe Manganiello) and his wife, Stella (Drea de Matteo), as it allows him to utilize his mother’s recipes. Although Bruno encourages Joe to use the money from his mother’s life insurance to do something that brings him joy, he doesn’t anticipate his friend’s seemingly erratic new plan; Joe intends to start a new Italian restaurant, in which he invites several “nonnas” (Italian grandmothers) to serve as his chefs.

Joe’s belief is that food made with love and history will resonate with customers far more than the notion of prestige; within each recipe are memories, and helping a group of older women allows Joe to process what life will look like without his matriarchal figure. Thankfully, Chbosky managed to give comeback roles to each of the actresses cast as the “nonnas” that Joe hires; included in the ing cast are Susan Sarandon as Gia, Lorraine Bracco as Roberta, Talia Shire as Teresa, and Brenda Vaccaro as Antonella. Perhaps these actresses, all of whom have appeared in some of the most influential films of the 21st century, are overqualified for the material. Nonetheless, “Nonnas” is reliant upon their chemistry, and Chbosky made the smart gamble in dedicating a majority of the film’s runtime to scenes of these characters learning and working with each other.

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It’s safe to say that the “Mission: Impossible” franchise is the most consistent recurring saga in Hollywood’s recent history, as nearly every installment in the series contains the type of creative storytelling, stylistic flourishes, and inventive spectacle that most blockbusters are devoid of. While John Woo’s “Mission: Impossible II” stood as the only real failure in the series, the franchise took on a more serialized format with the fifth entry, “Mission: Impossible- Rogue Nation,” the first of which to be directed by Christopher McQuarrie. By deepening the character arcs and adding more insight into the psychology of Ethan Hunt, McQuarrie was able to heighten the stakes with each subsequent entry, with the final two installments serving as a grandiose sendoff to the series that began in 1996.

“Mission: Impossible- The Final Reckoning” may have originally been intended to be “Part Two” of 2023’s “Mission: Impossible- Dead Reckoning,” as the “Part One” from the latter entry has been dropped from its digital releases. Nonetheless, “The Final Reckoning” picks up immediately after the events of its predecessor, as Ethan (Tom Cruise) is tasked with tracking down the assassin Gabriel (Esai Morales) before he can unleash the power of a dangerous artificial intelligence program known as “The Entity.” Ethan has the help of his longtime allies Luther (Ving Rhames) and Benji (Simon Pegg), as well as his new team Grace (Haley Atwell), Paris (Pom Klementieff), and Degas (Greg Tarzan Davis). However, the United States government is considering radical action in order to prevent the world from erupting into a global war, which could result in millions of lives sacrificed for “the greater good.”

The brilliance of the “Mission: Impossible” franchise has been how Ethan deals with personal stakes amidst his obligations to save the world. In the aftermath of the death of his entire team in the first film from 1996, Ethan has made it a priority to never let his friends down. While “Mission: Impossible- The Final Reckoning” shows how Ethan’s unwavering belief that he can save the world without any “necessary losses” has put increased pressure on his back, the interpersonal dynamics between the ing characters are severely lacking. Although Ethan’s mentorship of Grace was a key aspect of why “Dead Reckoning” feels like an injection of excitement, Atwell is mostly saddled with delivering exposition throughout “The Final Reckoning.”

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Bridging the gap between George Lucas’ highly influential & much revered original Star Wars Trilogy and his equally detestable prequel series, Rogue One: A Star Wars Story had no valid reason to exist and so when it was green-lit for production, the move was seen by many as yet another cash-grab attempt from Lucasfilm’s new parent company and, apart from bringing more cash into the studio’s reserves, it was also aimed at prepping the viewers to keep the juices flowing during the void between the two episodes of the ongoing sequel saga of this epic space opera.

However, it is this self-contained existence of Rogue One only that works in favour of this unnecessary chapter and sets it apart from the rest of the entries in the Star Wars saga, for it allowed the filmmakers the creative freedom to take the story in any direction they desired as long as it concluded where the original Star Wars commenced. Frankly, this ambitious project could’ve gone horribly wrong but director Gareth Edwards takes full advantage of the blank canvas to deliver an endlessly entertaining, action-packed & delightfully dark space extravaganza that’s thoroughly satisfying on most levels.

Set in a galaxy far, far away, the story of Rogue One follows Jyn Erso, the daughter of the chief architect of the Galactic Empire’s latest weapon, the Death Star, who’s been living the life of a renegade and has operated under various aliases over the years. Freed from her captivity by the Rebel Alliance who are aware of her real identity, she is recruited along with several other on a mission to steal the plans for the Empire’s superweapon from their very archives so that the Alliance can learn more about this new weapon of mass destruction and exploit any of its weaknesses.

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It is no secret that the Marvel Cinematic Universe has suffered a decline in quality in the aftermath of “Avengers: Endgame,” the conclusion to the “Infinity Saga” that briefly attained the status of being the highest-grossing film of all time. Although Kevin Feige and the team at Marvel Studios attempted to insert energy into the franchise through the introduction of the “Multiverse,” subsequent installments have included disappointing sequels (“Thor: Love and Thunder”), misguided creative swings (“Eternals”), botched crossover events (“The Marvels”), and many post-credit scenes that have not paid off. This era’s most commercially successful films have included nostalgia-heavy films like “Spider-Man: No Way Home” and “Deadpool & Wolverine,” which coasted on the audience’s goodwill for the established characters.

While saying that “Thunderbolts*” (2025) is a significant step forward for the MCU might seem to be damning with faint praise, it’s irable how self-aware Jake Schreir’s team-up adventure is. Instead of overwhelming the viewer with endless scenes of exposition, “Thunderbolts*” opts to take a more character-centric focus on a group of outcasts, criminals, and self-itted “losers” that are hastily assembled to form a new team. In a world where the Avengers no longer exist, the world is in need of heroes who have the power to inspire. In a clever twist, the protagonists of Thunderbolts* all need to be heroes in order to save themselves from feelings of despair, grief, and depression.

Although it’s impressive that “Thunderbolts*” is not completely reliant on preceding films in order to be comprehensible, it is most directly related to “Black Widow,” which introduced Florence Pugh as the Red Room’s assassin Yelena Belova. While Yelena has picked up assignments for the CIA director, Valentina Allegra de Fontaine (Julia Louis-Dreyfus), she suffers a crisis of confidence as she considers the terrible things she did in her former life. Yelena attempts to break the news that she is quitting to her surrogate father, Alexei Shostakov (David Harbour), when she finds herself on a dangerous mission in which she comes to face-to-face with several covert agents; Ava Starr (Hannah John-Kamen) is a vigilante that can phase through objects, John Walker (Wyatt Russell) was fired from his position as the new Captain America, and the enigmatic “Bob” (Lewis Pullman) has been given powers through an illicit experiment.

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The initial unpredictability of the order and the overall knowledge of how death picked up its targets made the first few entries of the “Final Destination” series as worthy as that of a well-crafted suspense thriller, which had a ticking time bomb set to go off at any moment.

It creates a dual tension – of the possibilities of an immediate death and the lack of an explanation as to who, how, or why. It is a metaphysical puzzle. And to top that, the audiences are also given a God-like perspective as they get to see the death trap being laid, which the characters themselves are not aware of.

But after the logic and the design of death is put forth, the game pretty much shifts to the unimaginably horrifying circumstances that can lead to gruesome and crushing fatality in airplanes, theme parks, expressways, shopping malls, barbeque parties, and cinema halls.

It now serves as a fulfilling guide to the sadistic pleasures of watching people get crushed under logs and sucked into swimming pools and the various little ways the dropping of a nail or a coin can snowball into a trap. And this approach is true for the new film as well. But in the new film, there is no puzzle as such, and the characters get easy access to all the resources they need to understand their situation.

In “Final Destination: Bloodlines,” the latest entry in the series, a young Iris (Brec Bassinger) uses her premonition to a larger benefit when she stops a crowd of people from meeting their ultimate fate in a newly opened Skywalk tower. But in doing so, she disrupts the cosmic to-do list of death, and as a result, the multiple lives that she saved are hunted down creatively one after the other.

But these lives aren’t the focus of the new film here, but Iris’ family, which now includes multiple grandsons and granddaughters. A lot of time has ed by, and Iris is still alive, challenging death with every breath she takes. She lives in seclusion, fortifying herself in her small but well-guarded shelter.

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Natja Brunckhorst’s “Two to One” (Original title: Zwei zu eins, 2025) is a social comedy taking potshots at the interval between East and West ’s reunification. In the 1990s, the Berlin Wall collapsed, and there were these intense months of upheaval. The future looks terribly uncertain, grim, and unsalvageable. Financially, it’s a mess. People’s lives are caught in doldrums. Is there any chance of recompense? This irretrievability is what the film taps into all its abundant exasperation, desire to rebuild life and surge forth despite umpteen hurdles. Who knows what the future holds?

Maren (Sandra Hüller) is keenly aware of her life being perched on standstill. She wants more, restless and aching, though she tries to keep up a happy family front. You can see the strains in her façade, how much she’s trying to be happy and complacent even when she’s creasing and in knots. She needs time to break out of the bubble of domesticity and reach out to exploration. Life holds many pleasures. She wants to plunge right into them. Her desires get further stoked when Volker (Ronald Zehrfeld), who used to be close, returns and causes palpable unease, inserting himself between Maren and her partner, Robert (Max Riemelt).

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It’s no secret that Hollywood has been somewhat reluctant to dump resources into comedies that do not have a definitive genre slant, as these projects were among the first to be sent directly to streaming services during the fluctuation of distribution methods. Despite the emergence of more unique, diverse comedic voices than ever before in the history of cinema, a straightforward comedy isn’t enough to solidify a theatrical release; those coveted spots are typically reserved for films that appear to be definitely “cinematic” due to some moment of spectacle. While the time may have ed in which defining 21st-century comedic filmmakers like Adam McKay, the Farrelly brothers, David Gordon Green, or Paul Feig could generate buzz based solely on their name, it has encouraged the next generation of humorists to embrace their idiosyncrasies in hopes of standing out.

There’s no other way to describe the style of Tim Robinson than “uncompromising;” while Robinson’s awkward, surrealist style of breaking down social normalities proved to be too avant garde for the “Saturday Night Live” writer’s room, he eventually found success of Netflix with a sketch show that fixated on the escalation of gags. Robinson’s delivery does not just consist of a straightforward punchline, in which he intends to elicit expected laughter. Instead, he pushes every moment to the extreme, revels in the uncomfortability, and manages to turn his audience’s awkward chuckles into wild howling.

What’s most remarkable about “Friendship” is that writer/director Andrew De Young has constructed a narrative in which Robinson’s persona is well-suited to be the protagonist. One of Robinson’s most endearing qualities is his ability to “say the quiet part out loud;” the notion of a character who doesn’t understand latent social codes, is unable to feign interest in dull topics, and can’t accept the rampant narcissism that everyone else abides by is the perfect point-of-view role for a comedy about the unspoken tenacity of adult relationships. Robinson’s brilliance is that he can raise insightful points, and generally has a corner of truth within his arguments. However, his behavior is so wild and overwhelming that at no point does the viewer grant him the level of sympathy that would usually be given to a character in such thoroughly humiliating situations.

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Amrita Bagchi’s recent short film, “Tinctoria” (a part of the four-film constellation of MAMI Select: Filmed on iPhone program), is not just an expression of the debilitating generational trauma or an imagining of class relations and their steady sustenance from the nineteenth century to the modern time. But with Vikramaditya Motwane as a mentor, Bagchi offers the film as an exploration of the nature of History, one which is sometimes faithful and other times blatantly treacherous. In documenting the genesis of a pigment, the short film effectively challenges the stifling tendency of prioritising the palatable ‘aesthetic’ by alienating the ‘repulsive’ political root. As the narrative unfolds, we realise that ‘the stain of indigo’ (the title appeared in Mahatma Gandhi’s My Experiments with Truth) metaphorically corresponds to the indelible stain on the collective memory, left by the shameful history of indigo slavery.

In the present day, Raka Sinha, a new age, elite fashion designer and pro slavery apologist, returns to her ancestral site, a nineteenth-century abandoned indigo factory which belonged to her great-grandfather. As she prepares to flag off a modern exhibition of her new collection, inspired by the dye of indigo, she channels her complacency in smugly speaking of her ancestors’ achievements in harboring bonded laborers for the indigo plantation. Raka recounts how ‘History’ has ed and remained faithful to her great-grandfather ‘Rai Bahadur,’ while casually adding its betrayal in the act, obliterating all traces of the workers from public memory as a footnote. According to Raka, the Raibahadur’s act of establishing an indigo factory in a village that was doomed to slink into oblivion anyway points to his indisputable heroism.

All drunk on the trend of sustainability, the fashion show turned art installation turns into a haunting site for Raka’s subconscious. The space around her begins to twist and turn, implode and explode curiously. At one point, she finds herself entangled in a mesh of indigo fibres from which she is rescued by her intern. As she tries to make sense of the trick that her mind just pulled on her, she finds herself in yet another mirage soon enough. The walls of the toilet that she occupies fall off, and she finds herself in a dark room. There is not one soul in the room– just the blaring screen of a computer that constantly flashes mysterious numbers and an ancient photograph.

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Friendships can develop over the smallest of commonalities. Jerry Seinfeld, the legendary comedian, acutely observed that in most cases, kids form friendships simply because they live near each other. In Jerry Schatzberg’s “Scarecrow” (1973), when Francis asks Max, “Why did you pick me as your friend and business partner?” Max earnestly responds, “Cause you gave me your last match. You made me laugh.” When these bonds form, they form for life.

“Scarecrow” won the Cannes Palme d’Or in 1973 but got lost in the crowd of movies now ed from that era. While it’s arguable whether it’s an important film, the fact remains that two of the greatest actors of all time give performances that remain singular in their filmography. Probably one of the strongest lead pairings of the 1970s in of acting prowess, Al Pacino and Gene Hackman chose this particular project to be their next after” The Godfather” and “The Poseidon Adventure,” respectively, both at the peak of their careers. In Pacino’s words, this is the best script he has ever read, whereas Hackman said that this was his favourite performance of his own.

The first scene perfectly sets up the characters. Hackman’s Max is in a rush to hitch a ride to go where he’s going. He doesn’t have time to waste. Pacino’s Francis, on the other hand, is first seen sitting quietly in a tree, observing Max. You can sense Francis thinking to himself, ‘I want to be friends with this guy. He seems interesting to me.’ They size each other up as the camera absorbs the beautiful landscape around them. From then on, they become fast friends.

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Marching Powder (2025) is British icon Danny Dyer’s return to the big screen with past collaborator Nick Love, and it’s also the first film that has felt reflective of Keir Starmer’s Britain. A crushed velvet, hyper machismo, misanthropic ninety minutes that is as dull as it is mean-spirited and dated. The film follows Jack Jones (Dyer), a forty-year-old grumpy cocaine addicted football hooligan who is now forced to turn his life around after all his violent, misanthropic behaviour and substance abuse catch up to him.

He gets told by a judge he has six weeks to become a new man, or he gets thrown into jail. His wife left him, taking the kids. What follows is a film that feels repetitive, dated, and cynical to a fault. For a comedy, it’s not very funny. It’s mean-spirited in the most boring way possible. The anger the film holds is something very perplexing; it truly feels like a 2008 Time Capsule, taking boring pot shots at hipsters, artists, the trans community, and minorities. Look, if you are gonna try to be edgy, at least be actually funny instead of shouting profanity every few seconds and more or less recycling the worst jokes you’d hear down the pub on a Wednesday at 4 pm.

This feels less like a unique look at British culture and more like a dull rehash of “Trainspotting” and “The Football Factory” in the vein of a crushed velvet-covered ugly new build. I knew this film would feel dated, but I was hoping it would feel dated in a way that harkens back to early 2000s british cinema, but this feels dated in the same way hearing a slur on broadcast tv feels dated or being told by an old white man in reference to your skin tone that “your one of the good ones”.

From the first two minutes, which feature some pretty bland animation with an art style that reminds me of WikiHow, you can tell what sort of film this is going to be. Very quickly it becomes clear this is a film that thinks it’s satirising the modern geezer life style (day drinking, beating up other men because of football, heavy substance abuse and being a deadbeat dad) but is too scared to say anything meaningful as it doesn’t want to alienate the same people it’s trying to satirise/confront. It’s supposedly a film about changing times, but it already feels like a relic. The film’s humour, politics, and caricatures make you slump into your seat and roll your eyes.

Just constant lowest common denominator humour that revels in dull cynicism, I feel like I was hearing the same joke played on loop for ninety minutes. Sure, one or two moments made me smirk, but that’s a pretty abysmal hit rate for a comedy film. The whole experience is coated in a sense of irony, a film about change. However, every joke feels like it’s doing its best to appeal to people who are permanently stuck in 2010 lad culture. For a film about a man trying to change, it’s pretty frustrating that he doesn’t actually change; there’s not really a character arc, Jack learns nothing, and we end at the exact same point as we started from. There’s no real payoff, there is no real consequence to anything.

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Set against the backdrop of the 2005 extremist strife that engulfed the Karbi Anglong district of Assam, the Karbi feature film, “Mirbeen” (2023), tells the story of a young woman’s dreams in a conflict-torn village of the state. Premiered at the 54th International Film Festival of India (IFFI), Goa, it also shows the political realities of its time and the human cost of revolution.

Life in the Karbi hills unfolds at a slow and steady pace, and likewise goes the rhythm of the film. The protagonist, Mirbeen (played by Malini Tisopi), lives in a village that is consumed by recurring inter-ethnic tensions between the Karbi, Dimasa, and Kuki tribes of Assam. These conflicts have led to frequent lockdowns and stagnancy in the developmental process of the region. The sad reality is that, under such conditions, higher education continues to remain a distant dream for many.

Mirbeen, a young girl and a weaver of traditional fabrics, aspires to become a fashion designer, a dream that is as ambitious as those of her close friend Kaban. Kaban’s brother, Longki, is an underground rebel who shares a romantic relationship with Mirbeen. However, things take a turn for the worse when Longki’s outfit kidnaps and kills one of Mirbeen’s college teachers, the fallout of which Mirbeen and the fellow villagers have to bear.

With “Mirbeen” (2023), director Mridul Gupta unfailingly sticks to his broader point of how women are always found at the crossroads in any kind of conflict. Beyond that, there are heinous atrocities committed against the collective existence of the people by unknown miscreants—burning down houses, destruction of the tribal villages, and forcing the villagers to flee to the woods. Some also subject women to sexual violence, along with killing men and women alike.

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In one of the more poignant moments of “,” Zee5’s latest original starring Babil Khan, the protagonist earnestly proclaims that social media is not a mere distraction for many. It is a world in itself. What “” proceeds to tacitly depict under the garb of a genre film is that the same world is not all sunshine and rainbows, so to speak. It has pitfalls and fate’s cruel hands that act as a twisted leveler, just like the real, physical world. Directed by Amit Golani and written by Biswapati Sarkar, “” attempts to cram most of the perils of the modern online world. A little too much perhaps; yet it remains an engrossing watch with a commendable leading performance.

Babil Khan plays Pratyush Dua, known as ‘Pratman’ online, a social media influencer who rose to popularity via his “Laila-Majnu” skits, where he plays both characters. With a house full of all the latest gadgets, Pratyush seems to have it made. The only headache for him, as his manager constantly reminds him over the phone, is to achieve the coveted 10 million followers count. ‘Pratman’ boasts 9.9 million plus followers. A few more are necessary. While Pratyush, with his manager, tries to achieve that milestone with relevant ‘content’ and ‘collabs,’ he loses his smartphone during a drunken night out. The next morning, he is reached out to by a female fan (going by the name ‘Pratmaniac1) online, who claims to have the phone.

Right from their early TVF (The Viral Fever) days, Biswapati Sarkar and Amit Golani have shown a keenness for digital observations. From parodying “Game of Thrones” to fit IIT fests to venturing into web series (For those who are not aware, TVF was one of the earliest Indian media services to produce web series), Sarkar and Golani are quite savvy in navigating the modern online ecosystem, especially in the Indian context. So, it is not entirely surprising to see ‘’ peppered with relevant hints of social (media) commentary. The influencer war and the constant drive to stay relevant, or better, read ‘viral,’ is deftly depicted in the initial fifteen to twenty minutes.

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The surface sheen of “Whenever I’m Alone with You” (2025), the directorial debut of Vesper Egon and Guillaume Campanacci, is so deliberately dark and familiar that it should not work at all. Set in the sunlit rot of the South of —not far from Cannes—the film follows a suicidal Frenchman named Guillaume. He’s everything a film-school dropout’s profile picture would ire: brooding, antisocial, quoting Godard, and spilling unsolicited monologues about society’s decay. Of course, he has an ex he can’t get over. Of course, he’s unable to love.

Enter Vedrana: a woman with Sarajevo roots, dominatrix aesthetics, and a thousand untold dreams flickering behind her silence. She’s just left a stale relationship. No prizes for guessing what happens when she collides with Guillaume’s existential haze. You’ve seen this story before. Except here, the clichés wear new skin—threadbare, grainy, but sewn with a strange pulse.

As generic as this sounds on paper, no narrative is too dead to be reawakened. Campanacci and Egon—also the film’s co-writers and editors—approach their material with the wide-eyed nerve of overindulgent film students. The result is a surprisingly affecting romantic comedy, crisscrossed with surrealistic self-reference and whispery detours into fantasy. Shot with a precise, low-budget indie flair by Nicolas Devienne, the film teases us with BDSM posturing before flipping the frame to its quietest edges. It opens its legs with confidence, then suddenly closes them to murmur secrets. Minimalism, in this case, is not restraint—it’s intention. Every muted moment, every overexposed flash, demands that the audience lean in.

Dialogues barely exist unless they must. When they do, they’re filtered through ambient clatter—clinks, caws, and the sort of background noise that makes you question what’s real. At a party, we don’t hear chatter—we hear crows. Characters clink wine glasses, mouths moving, but their conversations are ghosted out. It’s audacious, sure. But it’s also committed. There’s a punk edge to how the film mutes its world.

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“Call of the Void” revolves around Moray (Caitlin Carver), a 30-something woman who retreats to a cabin in the woods after her brother’s sudden death. Within the first few minutes, the film reveals much of what we need to know about her. We learn about her age and desire for a peaceful escape for the time being. We also get a peek into what is causing her to leave her life in the city and the type of relationship she shares with her parents and others. That introduction reveals plenty about her character and immediate emotional goals and needs.

Moray hopes for a quiet getaway, but these hopes get shattered by four college students who show up at the next house. They are more youthful and vibrant, almost the opposite of who she wants to be or be around. So, she tries to maintain distance, likely because they remind her of the enthusiasm she has lost toward her life. However, she changes her mind after they play a song that reminds her of her late brother. One thing leads to another, and she s them for a hike. That’s when things start to get bleaker for everyone.

The script lays out bare details about its 20-something student characters and their professor, who happens to live in a nearby cabin. Lucy (Mina Sundwall) is cheerful but flippant, possibly because of her age. She invites Moray to their house and becomes the bridge between Moray and her friends. Sterling (Richard Ellis) and Cole (Christian Antidormi) are self-righteous musicians who have youthful arrogance. They even wear their smirk with pride. Unlike them, Darryl (Ethan Herisse) appears meek but kind. He hopes to be a part of the group but is instead made to feel abandoned, rejected, or ignored.

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Ali Asgari’s “Higher than Acidic Clouds” opens in closed spaces with an eye to the boundless. Asgari’s voice can’t be contained, straitened, exploding into affiliations with other faraway places, Iceland and Italy, while home in Tehran feels like a ‘stranger’. This essay documentary transpires in the shadow of Asgari’s house arrest in 2023. It ensued on the heels of his return home from Cannes, where he presented his film “Terrestrial Verses.” Suddenly, he found himself severed from the world as the government banned his traveling and raided his house, digging for material to furnish baseless allegations.

In haunting monochrome captured by DP Arman Fayaz, a portrait of captivity emerges, one that however pushes beyond and surges across any spatial confine. Cooped up in his apartment, as he’s interrogated, he endures, his mind drifting elsewhere, dipping into memories of his mother, his childhood when he used to sleepwalk. The film imbibes his desire to fly, spanning Tehran from above.

For all the circumscribing put on Asgari, his imagination, the ‘inner vault’ of his memories, and his act of observing are impenetrable. It’s the final frontier that cannot be broken into even as government officials ransack his apartment, plough to pull up anything seditious. “Your hands can’t grasp my imagination”, he asserts. How he can be taken into custody is what colours every aspect of authorities and their attitude to him. Meanwhile, a looming lone polluted cloud stands witness, evoking the sheer absurdity of the clampdown.

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“New Beginnings” (2025), directors Isabelle Ingold and Vivianne Perelmuter follow Native American Al Moon’s journey while looking back at his past. Living on the Indian reservation of Yurok, his sustenance has taken a hit. Fishing feed has been drying up. Once, there used to be great catches; now, the salmon are dying in huge numbers. The ocean is sick, he says almost matter-of-factly. Like him, this film desists from any mawkish gestures, full of a simple, workmanlike insistence on chugging ahead, adapting to life’s uncertain, shaky rhythms.

Why do I say ‘them’ when I talk of Native Americans with me being one? He confronts himself. As he retraces his time fighting during the Vietnam War, he asserts war was just a personal thing, not tinged with any patriotism. Yet, why did he find himself consumed in working for the white man when his people have been oppressed by them since time immemorial? Now, he no longer washes his hands off guns or any kind of arms, even as Trump rails for looser gun control in the name of security.

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In “The Vanishing Point,” Bani Khoshnoudi stirs a tide of anger and grief into motion. It’s at once an intimate saga as well as a national overhaul of Iran, foregrounding voices stifled, bodies negated in all their patchwork. Her mother’s cousin was disappeared by the regime in 1988 at the age of twenty-seven. There never came an official statement. It was as if her existence was wiped out of memory one day. “The Vanishing Point” brings the train of cong her to oblivion to a juddering halt.

The director situates a weave of testimonies, building a portrait of public unrest. “The wall of fear has come down”, she reaches out across time and assures the disappeared relative. Many like her have been taken away; Khoshnoudi asserts that their severed lives and shattered futures aren’t in vain. The fury and profound agony, the charge of speaking out can no longer be kept to a leash, instead, repression bursts out and demands justice, ability.

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Stories of displacement are as ancient as time itself. They are inscribed in the annals of civilization, inextricably linked to the act of survival. Yet their brutal, forbidding power remains unshakable, insistent. To deny the price humanity and ecosystems have to bear in the name of urbanisation and development is to bring further moral corrosion and expedite our own collapse. Instead of escaping, we must confront the hard truths of our overreaching when we should hold back and assess the damage done. Natalia Pietsch and Grzegorz Piekarski’s documentary “The Town That Drove Away” underscores the horrid, pained reality of such uprooting, calling for a reappraisal.

We must name the crime, record it, and demand due ability. Centuries of peace and concord can be wholly shattered with incursions of development as it slashes through the village of Hasankeyf in Anatolia. Things can change in a day. With the Ilisu dam being erected, orders come in for immediate evacuation. Relocation to a new town a few miles away is promised, but it isn’t extended to single individuals. What of their lives? They are wholly pushed off any consideration; however, even the rehabilitated ones are riven apart.

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In “The Thing” (1982), John Carpenter doesn’t simply revive the alien-invasion narrative—he infects it. The film festers in its own paranoia, turning the genre inside out, stitching together a vision of horror that is less about the arrival of the other than the collapse of the self. On top of that, the movie is so much fun, and it still holds up well. Part of this has to do with the ample tension in the film—the story is on another level—and the practical effects have stood the test of time.

The film opens in the blinding white desolation of Antarctica. A dog runs across the ice, pursued by a Norwegian helicopter, shot at, and hunted. The Americans at Outpost 31 take the dog in, unknowingly inviting in something ancient and formless, something which does not kill to survive—it imitates. From there, the narrative dissolves into a study in suspicion. Who is still human? Who has been replaced? No answers. Only questions, and an increasing number of corpses.

John Carpenter’s directorial choices are as severe as the landscape itself. There is no warmth, no distractions from the increasing paranoia at the core of the film. Dean Cundey’s cinematography bathes the station in deep blues and surgical whites, while Ennio Morricone’s score pulses like a mechanical heartbeat—cold, slow, and alien. It’s worth noting that Morricone composed much of the score before seeing the film. That instinctual eeriness makes perfect sense in a story where knowledge itself is unreliable. Then there’s the creature. Or rather, creatures. Rob Bottin’s practical effects are grotesque poetry—heads sprouting legs like spiders, torsos splitting open into toothy maws, sinew stretching into impossible contortions. The monster never has a true form because it doesn’t need one. I think that is what makes this film unique: the monster is ever-changing throughout the narrative, keeping things fresh and keeping the audience on its feet.

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Malayalam dark comedy thriller “Pravinkoodu Shappu” marks an eye-catching debut for writer-director Sreeraj Sreenivasan. Set in the pastoral landscape of rural Kerala, this whodunit niftily works with Agatha Christie-esque twists with a fair amount of absurd humor. Starting right from the opening scene, the film revels in its ambitiously eccentric setup and crafts a fairly engrossing, if not entirely original, mystery. And it does that with style, with some fantastic action pieces that show the potential of the debuting filmmaker.

The script, written by Sreenivasan, replaces the British Cottagecore mood of Christie’s stories with the crass and brash vibe of a village toddy (local palm wine) shop. Sreenivasan takes a ionately meticulous care in setting up the murder in the preposterously hilarious liquor shop setup, where drunken machismo is just a shove away. He is so fascinated by the absurdity of the murder premise that he finds excuses to come back to the same scene through a variety of POVs. This being the debut film, the inclination to indulge is quite understandable.

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Congolese filmmaker Jean Luc Herbulot grabbed the Cine-world’s curiosity with the 2021 horror-thriller, “Saloum.” Despite the heavy influences of many genres, the film stood apart due to its innate African essence with the astute amalgamation of genre tropes and African mythology. So it is surprising that his latest, “Zero,” comes across as a tepid rehash of a multitude of the early new Millennium Hollywood films where the American hero has to survive the heat and the dingy alleys of a developing country, all with a yellow tinge.

When a film starts with the protagonist waking up on a crowded bus in Dakar (The capital city of Senegal) to find himself strapped with a bomb, one cannot help but be hooked. What follows is the familiar tale of American citizens trying to make the best out of a tricky situation in an unfamiliar territory and culture. I say ‘Citizens’ in plural because “Zero” has two American protagonists dressed in bombs. These men, named Number 1 (Hus Miller) and Number 2 (Cam McHarg) for simplicity’s sake, are asked to complete certain tasks by a voice on a phone. The obvious threat of detonating the bombs if they failed to do so hangs over their head.

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Fresh in the wake of a disintegrated relationship and with several professional stints falling through, Sophie Bédard Marcotte decides to film her playwright neighbor, Gabriel, as he grapples with constructing and staging a riff on the Sisyphus myth. There’s not much structure but a freedom of enquiry and scope that eventually permeates the film “I Lost Sight of the Landscape.”

Sophie may not even have thought she’d stick it through till the very end, but she keeps going. The willingness to hold faith in the journey that pans out in unexpected directions and to delightful ends is both touching and richly absorbing. Patience and stubbornness are key, the playwright asserts to his actors who lie down on craggy rocks, wrestle with. They are asked to imagine and build a relationship with the rock. This is creative theatre that’s driven by untethered impulses. To lean into them is to put together the work without the burden of narrow definitions and containing territory-setting.

The wry, human, moving touch to the film makes it consistently charming, pulling us in a loosely floating rhythm. Sophie frequently insists throughout the film about being guided by his process, its openness a source of inspiration. Garbiel’s work leans into gestures and is intensive with physicality, initially negating any dialogue whatsoever. There’s no space for words in his theatre. But here is not an artist who lets himself and his principles stagnated, immovably fixed. Sophie’s film imbues this spirit with a lovely light hand. Instead of allowing a sense of defeat, the film is turned to the hopeful, a steady act of reconstructing and reassembling in the face of multiple crises.

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David Bim’s “To the West, in Zapata” has one of the most arresting first chapters of any film playing at Visions du Reel. We are wholly immersed in the daily life of the middle-aged Landi as he toils away in a forest. There’s no exposition, just a slow, gradual acquainting with how he goes through a day alone. Only a radio provides a slant of context: the pandemic is on, the year is 2021, and we’re in a remote corner of Cuba, a country struck by social upheaval. Revolutionaries are summoned to take to the streets, there’s deep instability.

This social, larger sense is a patina that informs the steep situations we witness. Landi tows his boat and nabs crocodiles skulking about in the swamp. A vigorous, violent tussle ensues, the crocodile lashing to free itself off which he puts down with remarkable ease and control. He’s been doing this for a while. With great exertion, he foists it, ties it to the boat, and tugs it back to his marooned shelter. He’s cut off from the world.

This section distils its essence from a vividly rendered sense of place and having to elbow a way through a situation no matter how seemingly impossible. Just when we begin to itch to know more about Landi and his place in the world, Bim shifts focus and gears in the second half that dwells on his wife, Mercedes, and their child, who pin their hopes on his return that will bring sustenance.

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Tom Cruise is synonymous with gravity-defying stunts and blockbuster action, especially in the Mission: Impossible series, where his commitment to doing his own stunts has made him a cinematic force. But beyond the action, Cruise thrives in complex dramas, bringing emotional depth and a singular intensity to roles like Bill Harford and Jerry Maguire.

With over 40 films to his name, ranking his work isn’t easy. This list weighs both the film’s quality and Cruise’s performance, with a focus on the latter. Think of it less as a definitive ranking and more as a celebration of his incredible range as an actor.

Click here to read the write-ups on these films.

1. Born on the Fourth of July
2. Magnolia
3. Jerry Maguire
4. A Few Good Men
5. Collateral
6. Top Gun: Maverick
7. Eyes Wide Shut
8. Mission: Impossible – Fallout
9. Rain Man
10. Risky Business

...plus 35 more. View the full list on Letterboxd.

The 2025 Cannes Film Festival lineup, while packed with big names, was met with muted enthusiasm; disappointment sparked by the bloated Mission: Impossible – The Final Reckoning seemed to linger across an edition that never fully ignited. Still, Cannes is never without its gems, and 2025 delivered a handful of standouts poised to fuel film discourse for months.

This list of 10 must-watch titles includes some close contenders that just missed the cut—honorable mentions go to Joachim Trier’s Sentimental Value, Sebastián Lelio’s The Wave, Spike Lee’s Highest 2 Lowest, and Saeed Roustaee’s Woman and Child; flawed but undeniably compelling films that made their mark.

Click here to read the write-ups on these films.

1. Urchin
2. It Was Just an Accident
3. Sirât
4. The Mastermind
5. Resurrection
6. Die My Love
7. The Secret Agent
8. Yes
9. The Love That Remains
10. Sound of Falling

While prestige TV has boomed in the 21st century, Black Mirror remains unmatched. Moving from BBC to Netflix, it dissects how technology reshapes society, politics, and morality. Season 7 brings inventive sequels and soulful stories, proving the show still challenges and surprises. Here are the ten best Black Mirror episodes, ranked.

Click here to read the write-ups on these films.

...

What other Black Mirror Episodes would you add to this list?

1. Black Mirror: Bandersnatch
2. Black Mirror: USS Callister
3. Black Mirror: Hated in the Nation
4. Black Mirror: Fifteen Million Merits
5. Black Mirror: The Entire History of You
6. Black Mirror: San Junipero
7. Black Mirror: White Christmas
8. Black Mirror: Beyond the Sea
9. Black Mirror: Playtest
10. Black Mirror: Shut Up and Dance

In this list, an attempt has been made to put together a range of films that can prove to be great companion pieces to “Eternal Sunshine of the Spotless Mind.” The films on the list not only concern themselves with the loyalty and treachery of memory but encom everything that interrelates and interfuses with that elusive thing that is the human mind– dreams, desires, anxieties, and fears.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• The Science of Sleep
• Apples
• Little Fish
• The Beast
• The Missing
• Sa
• Je T'Aime, Je T'Aime
• The One I Love
• Last Images of the Shipwreck
• Paperhouse

Whilst some dismiss his later work as aggrandizing self-parody, there’s plenty of value to be found in a great director’s autumnal spurts of inspiration. Film fans of all ages, on the other hand, can agree on the classic status of his masterpieces, films that are etched permanently into an alternative canon of American cinema where thoughtful and immersive storytelling eclipses Hollywood cliche.

Click here to read the write-ups on these films.

...

What other filmmaker's work would you like us to rank next?

1. The Thin Red Line
2. The Tree of Life
3. Badlands
4. A Hidden Life
5. Days of Heaven
6. Knight of Cups
7. The New World
8. To the Wonder
9. Song to Song

The best thing one can do when it’s raining is to watch a movie. Some of the greatest films in cinematic history owe their greatness to the presence of rain. Rain in cinema is often said to be the symbol of nostalgia, solitude, chaos, love, rejection, death, decay, and so on. But are not some things just simply what they are and nothing more? In the end, rain is just rain, water returning to its origin. The following list doesn’t feature movies with heavy rain, nor is it about movies in which rain is a central character. They’re just movies I think about when I think about rain.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Rain
2. Rashomon
3. Andrei Rublev
4. Blade Runner
5. Withnail & I
6. Damnation
7. Glengarry Glen Ross
8. Memories of Murder
9. Raincoat
10. Sin City

...plus 5 more. View the full list on Letterboxd.

Cinema based on LGBTQ+ issues has become mainstream in the 21st Century, with films like Moonlight, A Fantastic Woman, and 120 BPM heading a much-required discourse on queer identity politics and representation. But, if we look at the history of LGBTQ+ cinema back in the 20th Century, we would see how this representation came into being.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Mädchen in Uniform
2. Song of Love
3. Some Like It Hot
4. The Children's Hour
5. Victim
6. The Killing of Sister George
7. Death in Venice
8. The Bitter Tears of Petra von Kant
9. Pink Flamingos
10. Je Tu Il Elle

...plus 10 more. View the full list on Letterboxd.

While modern auteurs like Lee Chang-dong, Kim Ki-Duk, Hong Sang-soo, and Im Kwon-Taek have garnered praise for their masterful direction in the film festivals, they have carved an inviolable niche. South Korean cinema has found a balance between competitive contemporary mainstream and art films that shape world cinema. Here is the exhaustive list of the best South Korean movies of the 21st century that redefined the medium.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Poetry
2. Memories of Murder
3. Peppermint Candy
4. The Wailing
5. The King and the Clown
6. Secret Sunshine
7. Treeless Mountain
8. Burning
9. Decision to Leave
10. The Handmaiden

...plus 30 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. A Ghost Story
2. Good Time
3. Uncut Gems
4. Minari
5. The Lighthouse
6. The Florida Project
7. Aftersun
8. Moonlight
9. 20th Century Women
10. The Green Knight

...plus 40 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• The Maze Runner
• Resident Evil
• The Great Wall
• Pandorum
• The Mist
• Predator

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Extremely Loud & Incredibly Close
2. Emilia Pérez
3. Crash
4. The Help
5. Wicked
6. The Reader
7. The Blind Side
8. Les Misérables
9. The Hours
10. Joker

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Captain America: Civil War
2. Black Panther
3. Captain America: The Winter Soldier
4. Guardians of the Galaxy
5. Avengers: Endgame
6. Avengers: Infinity War
7. Thor: Ragnarok
8. Captain America: The First Avenger
9. Guardians of the Galaxy Vol. 3
10. Iron Man

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Two Night Stand
• Wristcutters: A Love Story
• The Big Sick
• Obvious Child
• What If
• About Time
• Much Ado About Nothing
• Celeste & Jesse Forever
• 2 Days in Paris
• Drinking Buddies

...plus 14 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Baksho Bondi
• Living the Land
• Kontinental '25
• What Does That Nature Say to You
• Blue Moon
• The Ice Tower
• Mickey 17
• The Light
• If I Had Legs I’d Kick You
• Reflection in a Dead Diamond

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Ikarie XB 1
• 2001: A Space Odyssey
• Solaris
• Silent Running
• The Secret of the Third Planet
• Event Horizon
• Frequency
• Voices of a Distant Star
• Sunshine

...plus 5 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Eyes Wide Shut
• Wild Things
• Bound
• Basic Instinct
• Single White Female
• The Talented Mr. Ripley
• Cruel Intentions

Click here to read the write-ups on these films.

...

What other films would you add to this list?

• Don't Look Up
• Barbie
• Logan Lucky
• Between the Temples
• The Dead Don't Die
• Kneecap
• Meet the Parents
• The Babysitter
• The Unbearable Weight of Massive Talent
• 21 Jump Street

The 2025 Sundance Film Festival will take place from January 23–February 2, 2025, in person in Park City and Salt Lake City, Utah, with all of the competition films and more available online from January 30–February 2, 2025, for audiences across the country.

Single Film Tickets for in-person and online screenings go on sale January 16 at 10 a.m. MT

Visit: festival.sundance.org for more info.

Official Selection:
1-10 | U.S. Dramatic Competition
11-20 | U.S. Documentary Competition
21-30 | World Dramatic Competition
31-40 | World Cinema Documentary Competition
41-47 | NEXT
48-75 Premieres
76-82 | Midnight
81-85 | Episodic (Missing: Bucks County, USA, BULLDOZER, Never Get Busted!)
86-87 | Spotlight
88 | Family Matinee
89-90 | From The Collection
91-97 | Short Program 1
98-105 | Short Program 2
106-112 | Short Program 3
113-119 | Short Program 4
120-126 | Short Program 5
127-134 | Animated Short Film Program
135-141 | Documentary Short Film Program
142-147 | Midnight Short Film Program

1. Atropia
2. Bubble & Squeak
3. Bunnylovr
4. Love, Brooklyn
5. Omaha
6. Plainclothes
7. Ricky
8. Sorry, Baby
9. Sunfish (& Other Stories on Green Lake)
10. Twinless

...plus 137 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Pasolini
2. The Florida Project
3. Platoon
4. The Last Temptation of Christ
5. The Life Aquatic with Steve Zissou
6. At Eternity's Gate
7. The Lighthouse
8. Antichrist
9. Shadow of the Vampire
10. Light Sleeper

Most of these films are in the post-production stage with a release date.

Get more details here: www.highonfilms.com/most-anticipated-movies-of-2025/

• 28 Years Later
• A Big Bold Beautiful Journey
• After the Hunt
• All-Star Weekend
• The Alto Knights
• Black Bag
• Blue Moon
• Bugonia
• Die My Love
• Eddington

...plus 38 more. View the full list on Letterboxd.

Click here to read the write-ups on these films.

...

What other films would you add to this list?

1. Into the Wild
2. The Motorcycle Diaries
3. Hunt for the Wilderpeople
4. Lion
5. Green Book
6. Zindagi Na Milegi Dobara
7. Wild
8. Y Tu Mamá También
9. Karwaan
10. Vicky Cristina Barcelona

...plus 10 more. View the full list on Letterboxd.

You can read the write-up on these films in the link below:
The 5 Best Bengali Movies of 2024 and 3 Honorable Mentions

...

What other films would you add to this list?

1. Shri Swapankumarer Badami Hyenar Kobole
2. The Cloud & the Man
3. Kaleidoscope Now
4. Bhootpori
5. Beline
6. Bohurupi
7. Pariah Vol. 1
8. Chaalchitro

It's recommended that you read the write-up on these films in the link below:
The 20 Best Indian Movies of 2024

...

What other films would you add to this list?

1. All We Imagine as Light
2. Kottukkaali
3. Vaazhai
4. Amar Singh Chamkila
5. Manjummel Boys
6. Merry Christmas
7. Ullozhukku
8. Anubhuti
9. Kishkindha Kaandam
10. Kill

...plus 10 more. View the full list on Letterboxd.

It's recommended that you read the write-up on these films in the link below:
The 30 Best Films of 2024

...

What other films would you add to this list?

1. Challengers
2. Dune: Part Two
3. I Saw the TV Glow
4. Anora
5. The Seed of the Sacred Fig
6. Furiosa: A Mad Max Saga
7. Oh, Canada
8. A Real Pain
9. The Brutalist
10. Bird

...plus 20 more. View the full list on Letterboxd.

We recommend you read the write-up on these films in the link below:
Best Bollywood Movies on Netflix Right Now

...

What other films should we add to this list?

1. Lakshya
2. Paheli
3. Dil Chahta Hai
4. Paan Singh Tomar
5. Soni
6. Gangs of Wasseypur – Part 1
7. Gangs of Wasseypur – Part 2
8. Kaminey
9. Barfi!
10. Milestone

...plus 16 more. View the full list on Letterboxd.

We recommend you read the write-up on these films in the link below:
10 Uplifting World Cinema Movies For The Family

...

What other films should we add to this list?

• The Red Balloon
• Mon Oncle
• My Neighbor Totoro
• The White Balloon
• The King of Masks
• Children of Heaven
• The Cup
• The Way Home
• The Cave of the Yellow Dog
• Wadjda

Checkout the complete write-up on these films here:
www.highonfilms.com/best-malayalam-movies-on-prime-video/

1. Kumbalangi Nights
2. Aattam
3. The Great Indian Kitchen
4. Aavesham
5. Joji
6. Ayyappanum Koshiyum
7. Kaathal - The Core
8. Drishyam 2
9. Pada
10. Jallikattu

...plus 5 more. View the full list on Letterboxd.

Checkout the complete write up on these films here:
www.highonfilms.com/best-horror-films-of-the-1970s/

1. Black Christmas
2. Suspiria
3. Dawn of the Dead
4. The Texas Chain Saw Massacre
5. Carrie
6. Eraserhead
7. Alien
8. Jaws
9. The Exorcist
10. Halloween

Checkout the complete write up on these films here:
www.highonfilms.com/the-best-films-from-italian-neorealism/

1. Umberto D.
2. Rome, Open City
3. La Strada
4. Bicycle Thieves
5. La Terra Trema
6. Shoeshine
7. , Year Zero
8. I Vitelloni
9. Paisan
10. Miracle in Milan

...plus 10 more. View the full list on Letterboxd.

Though it may not carry the same sense of cultural prestige as its younger French sibling, the Palme d’Or, the Venice Film Festival’s Golden Lion is nonetheless a towering marker of distinction.

We recommend you read the complete write-up on these films here:
www.highonfilms.com/best-golden-lion-winners-ranked/

1. Rashomon
2. Brokeback Mountain
3. Lust, Caution
4. Roma
5. The Shape of Water
6. Nomadland
7. Short Cuts
8. The Green Ray
9. Last Year at Marienbad
10. Poor Things

...plus 5 more. View the full list on Letterboxd.

1. 12 Angry Men
2. A Few Good Men
3. Inherit the Wind
4. Judgment at Nuremberg
5. The Verdict
6. A Dry White Season
7. Witness for the Prosecution
8. True Believer
9. My Cousin Vinny
10. A Soldier's Story

...plus 15 more. View the full list on Letterboxd.

1. Exhuma
2. How to Make Millions Before Grandma Dies
3. Dìdi (弟弟)
4. Twilight's Kiss
5. Not Friends
6. Twilight of the Warriors: Walled In
7. The Missing
8. Shanghai Blues
9. 12.12: The Day
10. Brief History of a Family

...plus 5 more. View the full list on Letterboxd.

All the Films that are scheduled to be screened at the 2024 Edition of the New York Asian Film Festival. The Festival will commence from July 12th to July 28th, 2024.

1: Day 1 (Opening Film)
2-10: Day 2
3-17: Day 3
18-19: Day 4
20-21: Day 5
22-25: Day 6
26-28: Day 7
29-33: Day 8
34-41: Day 9
42-46: Day 10
47-50: Day 11
51-52: Day 12
53-55: Day 13
56-57: Day 14
58: Day 15
59-64: Day 16
65-66: Day 17
67: Day 17 (Closing Film)

1. Victory
2. FAQ
3. Pierce
4. For Alice
5. Galaxy Writer
6. 12.12: The Day
7. The Time of Huan Nan
8. Not Friends
9. The Tenants
10. All Shall Be Well

...plus 57 more. View the full list on Letterboxd.

Best Western showdowns in movies are iconic moments that epitomize the essence of the Wild West. These riveting confrontations between lawmen, outlaws, or rival gunslingers are filled with tension and anticipation and often showcase the clash between good and evil. Films such as "Django Unchained," "A Fistful of Dollars," "Unforgiven," "The Magnificent Seven" and "3:10 to Yuma" deliver unforgettable showdowns that have become ingrained in popular culture. These intense face-offs are characterized by slow, deliberate pacing, close-ups of squinting eyes, and the gripping exchange of words before the explosive eruption of gunfire. Western showdowns are not just about the action but also explore themes of justice, honor, and morality, leaving audiences captivated by the timeless allure of the American frontier.

So, here is a list of Ten Best Western Showdowns:
www.highonfilms.com/ten-best-western-showdowns/

• High Noon
• Shane
• Gunfight at the O.K. Corral
• A Fistful of Dollars
• McCabe & Mrs. Miller
• The Shootist
• Unforgiven
• 3:10 to Yuma
• Django Unchained
• The Magnificent Seven

• Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
• Landscape in the Mist
• Satantango
• Few of Us
• Evolution of a Filipino Family
• The Four Times
• Two Years at Sea
• Stray Dogs
• Horse Money
• An Elephant Sitting Still

With an honorable mention.

Read our detailed description of the films:
www.highonfilms.com/best-movies-on-facial-surgery/

1. The Face of Another
2. Eyes Without a Face
3. Seconds
4. Phoenix
5. Open Your Eyes
6. Time
7. Goodnight Mommy
8. The Skin I Live In
9. Dark age
10. A Woman's Face

...plus 1 more. View the full list on Letterboxd.

Read our detailed description of the films: www.highonfilms.com/christopher-nolan-films-ranked/

1. Memento
2. The Prestige
3. Following
4. The Dark Knight
5. Inception
6. Oppenheimer
7. Dunkirk
8. Batman Begins
9. Interstellar
10. Insomnia

...plus 2 more. View the full list on Letterboxd.

Read our detailed description of the films:
www.highonfilms.com/alfonso-cuaron-movies/

1. Children of Men
2. Roma
3. Y Tu Mamá También
4. Gravity
5. Harry Potter and the Prisoner of Azkaban
6. A Little Princess
7. Great Expectations
8. Sólo con tu pareja

Read our detailed description of the films:
www.highonfilms.com/5-important-georges-melies-films/

1. A Trip to the Moon
2. The Impossible Voyage
3. The Diabolic Tenant
4. The Black Imp
5. Bluebeard

Read our detailed description of the films:
www.highonfilms.com/every-spike-jonze-film-ranked/

1. Adaptation.
2. Being John Malkovich
3. Her
4. Where the Wild Things Are

• 20th Century Women
• Little Women
• Sita Sings the Blues
• Two Days, One Night
• Incredibles 2
• s Ha
• The Wife
• Frozen
• Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)
• Persepolis

...plus 15 more. View the full list on Letterboxd.

• Of Horses and Men
• Something Must Break
• The Congress
• To Kill a Man
• Stranger by the Lake
• Miss Violence
• Frank
• Bethlehem
• Locke
• Lilting

...plus 10 more. View the full list on Letterboxd.

• Black Swan
• Battle Royale
• Panic Room
• Let the Right One In
• Beetlejuice
• Barbarian
• Bodies Bodies Bodies
• Scream

• Star Wars
• The Empire Strikes Back
• Return of the Jedi
• Star Wars: Episode I – The Phantom Menace
• The Mythology of Star Wars
• Seven Samurai
• Avatar
• Dune
• The Creator
• Mad Max: Fury Road

...plus 2 more. View the full list on Letterboxd.

• Kabuliwala
• Aakrosh
• Dead Man Walking
• I Want to Live!
• Happy as Lazzaro
• 4 Little Girls
• Anand
• Beasts of the Southern Wild
• Being There
• Bringing Down the House

• The Raid
• Police Story
• Jawan
• The Man with the Iron Fists
• A Prayer Before Dawn
• Kaala
• Drive
• Oldboy

• Full Metal Jacket
• Blow-Up
• The Salt of the Earth
• Hearts and Minds
• Eye in the Sky
• The Killing Fields
• 20 Days in Mariupol
• Come and See

• Eternal Sunshine of the Spotless Mind
• The Lake House
• P.S. I Love You
• Nights in Rodanthe
• One Day
• The Best of Me
• Forever My Girl
• A Walk to
• Message in a Bottle
• Love Story

• In the Heights
• Yesterday
• Once
• tick, tick... BOOM!
• The Big Sick
• Blinded by the Light
• (500) Days of Summer
• Up in the Air

• Kingsman: The Secret Service
• The Man from U.N.C.L.E.
• Layer Cake
• Atomic Blonde
• Red Sparrow
• Ruby Sparks
• Adaptation.

Dive bars, cheap restaurants, battered vintage cars, cigarettes, booze, accordions, portable radios, adorable dogs, a bouquet, vinyl records, mixed music tracks (jazz, tango, rockabilly, etc.), biting irony, deadpan wit, Bressonian minimalism, Ozu-esque transcendence, heightened aesthetic realism, vivid ‘emotions-defining’ color palettes, ultra-cool existentialism, determinist view of industrialized society, singularly understated acting style, and detached yet humane, restless yet large-hearted humans – these are all the staple elements of Aki Kaurismaki cinematic universe, a prolific Finnish film-maker who weaves visual poems from the extremes of quotidian drabness and who recently returned to cinema with the exquisite Fallen Leaves (2023). Some of his best films include "The Man Without a Past (2002)", "The Match Factory Girl (1990)", "Shadows in Paradise (1986)" and "Drifting Clouds (1996)" among others

Here Are The 10 Best Aki Kaurismaki Movies:
www.highonfilms.com/essential-aki-kaurismaki-films/

After the dust has settled around Joaquin Phoenix’s last movie, Napolean, we thought we’d celebrate his top fifteen movie performances—from the 2019 smash Joker to film buff classic Gladiator. The academy-award-winning actor has been in the business for years, starring alongside his brother River Phoenix from a pretty young age. Joaquin even named his son River in an ode to his brother’s memory—star of Stand by Me (dir. Rob Reiner, 1986) and My Own Private Idaho (dir. Gus Van Sant, 1992). At the tender age of eight, Joaquin made his debut in the 1982 television show Seven Brides for Seven Brothers, as did River. The two were famously born into a religious cult called the Children of God, traveling across South America and the Caribbean. By the time Joaquin was three, the family left the Children of God to move back to the U.S., changing their surname to Phoenix (previously Bottom) as a symbol of new beginnings. This “new beginning” was less than easy, however, and Joaquin attended various children’s talent shows to provide money for his family. Soon, Joaquin and River were to become budding child stars, never having to worry about finances again. Here, we list his performances in films like Gladiator, You Were Never Really Here, Inherent Vice, Walk the Line, The Sisters Brothers, and Don't Worry, He Won't Get Far on Foot, among others.

Checkout the Complete List and Add These Films to Your Watchlist:
www.highonfilms.com/joaquin-phoenix-movie-performances/

Wes Anderson is back with his latest film, The Phoenician Scheme. He is a celebrated American filmmaker known for his distinctive visual style, quirky characters, and offbeat humor. His filmography includes critically acclaimed works such as "The Grand Budapest Hotel," "Fantastic Mr. Fox," "Moonrise Kingdom," "The Royal Tenenbaums," and "The French Dispatch" Anderson's films are often marked by their bright colors, intricate set designs, and nostalgic soundtracks. He has been nominated for multiple Academy Awards, including Best Director and Best Original Screenplay. Anderson's unique cinematic style and unconventional storytelling have made him a beloved figure in the world of independent films.

Here Are All Wes Anderson Movies Ranked:
www.highonfilms.com/all-wes-anderson-movies-ranked/

In the frenetic landscape of contemporary cinema, dominated by fast-paced narratives, bombastic special effects, and relentless sensory overload, a counter-current has emerged called “slow cinema.” Film scholar Emre Çağlayan, in his book “Poetics of Slow Cinema,” defines the phenomenon as a particular subgenre of filmmaking whose aesthetic features include “a mannered use of the long take and a resolute emphasis on dead time.” However, the deliberate pacing and minimalist aesthetics of these films are not merely stylistic choices; they reflect a profound philosophical engagement with time, perception, and the human condition.

Slow cinema challenges the contemporary viewer’s investment in the rapid-fire information intake characteristic of the late capitalist world and, instead, invites them to reclaim the act of looking: to linger on details, to savor the unfolding of time, and to engage in a more mindful and reflective relationship with the cinematic experience. The camera becomes a patient observer, lingering on a sun-drenched kitchen as hands rhythmically knead dough or capturing the wind-swept solitude of a shepherd traversing a desolate plain. Such seemingly uneventful scenes, however, are not devoid of drama or tension. Instead, they simmer with a slow-burning intensity, where unspoken emotions flicker in glances, and the weight of unspoken words hangs heavy in the air. We list films like Jeanne Dielman, Landscape in the Mist, Satantango, and Few of Us, among others.

Add these Slow Cinema Films to your watchlist:
www.highonfilms.com/the-world-of-slow-cinema-great-films-that-foreground-stillness/

When we talk about capturing the essence of food and its huge impact on our lives, movies can take us to a different world or awaken our senses to a completely different sensory feeling. When I first watched the mouth-watering Cubano sandwiches in Chef (2014) or the magical confections in Juliette Binoche and Johnny Depp starrer Chocolat (2000), I was blown away by the ion and determination that the people who prepared and enjoyed the food in those films had. Food-centric movies have a unique way of capturing your heart and soul through the culinary world, showing us how important food is in shaping our lives. Here, we recommend films like Ratatouille, Cloudy with a Chance of Meatballs, Tampopo, and Eat Drink Man Woman, among others:

Add these Films to your Watchlist Right Now:
www.highonfilms.com/best-movies-about-food-to-watch/

The Sundance Film Festival has long been a cradle for groundbreaking independent cinema, launching films that often grow beyond their initial acclaim to achieve cult status. These movies transcend their time, finding ionate followings for their innovative storytelling, unique aesthetic, or subversive themes. Reservoir Dogs (1992) revolutionized the crime genre with its sharp dialogue and nonlinear narrative, while The Big Lebowski (1998) became a cultural phenomenon with its quirky humor and iconic characters. American Psycho (2000) offered a biting satire on materialism and vanity, pushing boundaries with its dark, psychological undertones. Similarly, Memento (2000) stunned audiences with its reverse chronology, cementing Christopher Nolan as a visionary storyteller. Donnie Darko (2001) delivered a haunting, surreal tale of time travel and teenage angst that has since captivated generations. Finally, Boyhood (2014), a deeply intimate coming-of-age drama filmed over 12 years, is a monumental achievement in cinematic storytelling. From edgy horror to introspective dramas, these Sundance standouts continue to captivate viewers long after their festival premieres.

Here Are 15 Sundance Films That Achieved Cult Status:
www.highonfilms.com/cult-movies-from-sundance/

Winona Ryder, a versatile American actress, has left an indelible mark on the film industry through her diverse filmography. With a career spanning several decades, Ryder's talent shines brightly in various roles. Her breakthrough came in the late '80s with iconic performances in "Beetlejuice" (1988) (and the sequel, of course) and "Heathers" (1988), showcasing her exceptional acting skills. The '90s brought her critical acclaim in "Edward Scissorhands" (1990) and "Girl, Interrupted" (1999), earning Academy Award nominations. Ryder's compelling performance in "Black Swan" (2010) further demonstrated her depth as an actress, solidifying her reputation as a talented leading lady. Her impressive filmography is a testament to her lasting influence and artistry in cinema.

Here Are The 10 Best Winona Ryder Movie Performances:
www.highonfilms.com/best-winona-ryder-movies/

Taiwanese auteur Tsai Ming-liang was born in present-day Kuching, Malaysia, on October 27, 1957. Voted 18th by The Guardian among the world’s 40 best directors, Tsai has been a regular presence at major international film festivals for over two decades and a poster figure of the Second New Wave of Taiwanese cinema. In the course of his career, Tsai shot 11 feature films, including the evocative “The River” (1997), the haunting “Goodbye, Dragon Inn” (2003), the intimate “Vive L’Amour” (1994), and the surreal “The Wayward Cloud” (2005). He also directed three documentaries and many shorts. Currently, he is active in exhibition films, among which is worth citing the Walker series, whose last installation, “Abiding Nowhere,” was presented at the 2024 Berlinale.

Here Are The 10 Best Films of Tsai Ming-liang Ranked:
www.highonfilms.com/best-films-of-tsai-ming-liang-ranked/

Darren Aronofsky is one of the most important American filmmakers working today. His distinct and intense exploration of the darkest aspects of the human psyche captivates and devastates us. From the visceral experience of 'Requiem for a Dream' to the mind-bending journey of 'Black Swan', the biblical allegory of 'Mother!' or the surprisingly delicate 'The Whale', Aronofsky's films leave a lasting impression on viewers, challenging perceptions and stirring emotions.

Here Are All Darren Aronofsky Films Ranked:
www.highonfilms.com/every-darren-aronofsky-film-ranked/

Javier Bardem emerged in Spain in the 1990s as a different kind of movie star. Scion of a notable acting family, his privilege and experience manifested in supremely confident leading roles in crossover hit “Jamon, Jamon” (1992) and Almodóvar’s “Live Flesh” (1997). With his appealing features and compelling screen presence, there was little doubt Hollywood came calling, and indeed, in the new millennium, he has ed Antonio Banderas and his equally talented wife, Penélope Cruz, as the industry’s most prominent Latin imports. He was daring in “Before Night Falls” (2000), for which he received his first Oscar nomination and appeared in films by Michael Mann and Miloš Forman. He would eventually rise to superstardom as the embodiment of calculating evil in “No Country for Old Men” (2007); he won the Oscar this time for one of the most chilling depictions of villainy in recent memory. Bardem's diverse performances also include memorable roles in films such as “Dune: Part Two,” “Dune,” and “mother!,” showcasing his versatility and talent.

Here Are The 15 Best Javier Bardem Performances, Ranked:
www.highonfilms.com/best-javier-bardem-performances-ranked/

Nuri Bilge Ceylan, a renowned Turkish filmmaker, has crafted a captivating filmography that explores the complexities of human existence with a remarkable blend of visual poetry and introspective storytelling. With an uncompromising vision and meticulous attention to detail, Ceylan has created a series of thought-provoking masterpieces that have garnered international acclaim. From his early works like "Kasaba" and "Distant" to his critically acclaimed films such as "Once Upon a Time in Anatolia," "A Wild Pear Tree," and "Winter Sleep," Ceylan delves into the depths of human emotions, existential dilemmas, and the intricate dynamics of relationships. His films are marked by striking cinematography, atmospheric landscapes, and profound character studies, making him a revered figure in contemporary cinema.

Here Are All Nuri Bilge Ceylan Films Ranked:
www.highonfilms.com/every-nuri-bilge-ceylan-film-ranked/

In honor of her new release, "The Phoenician Scheme," we are compelled to return to the amazing Scarlett Johansson's filmography, which is a remarkable journey through the realms of cinema. With a career spanning several decades, she has proven herself as one of her generation's most versatile and accomplished actresses. Johansson has seamlessly transitioned between various genres, from her breakthrough role in "Lost in Translation" (2003), which earned her critical acclaim, to her action-packed performances in the Marvel Cinematic Universe as Natasha Romanoff, also known as Black Widow, in "Avengers: Infinity War" (2018) and "Avengers: Endgame" (2019). Her filmography also boasts her intriguing portrayal of a sentient operating system in "Her" (2013) and her recent role in the highly anticipated science fiction film "Asteroid City." Scarlett Johansson's career showcases her incredible range and emotional depth, earning her numerous award nominations and securing her place as one of the most influential figures in contemporary cinema.

Here Are 14 Best Scarlett Johansson Movie Performances:
www.highonfilms.com/scarlett-johansson-movie-performances/

Jean-Luc Godard, the influential French filmmaker and pioneer of the French New Wave, has crafted a remarkable filmography that has left an indelible mark on cinema. His diverse work showcases his unique storytelling style and willingness to experiment with form and content. Films like "Pierrot le Fou" (1965) and "Vivre Sa Vie" (1962) display Godard's ability to blend genres and create thought-provoking narratives that challenge traditional cinematic conventions. Works such as "Masculin Féminin" (1966) and "A Woman is a Woman" (1961) explore the complexities of relationships and gender dynamics with a mix of humor and introspection. "Breathless" (1960), his breakthrough film, remains a seminal work that revolutionized filmmaking with its innovative techniques and rebellious spirit. "Contempt" (1963) offers a meta-cinematic exploration of art, love, and the struggles of the creative process. And "Band of Outsiders" (1964) showcases Godard's signature blend of crime and romance, with a stylish and playful narrative. Jean-Luc Godard's filmography is a testament to his visionary approach and enduring impact on the world of cinema.

Here Are The 15 Best Films of Jean-Luc Godard:
www.highonfilms.com/best-films-of-jean-luc-godard/

“Film noir” is usually used as an umbrella term to describe stylish Hollywood crime dramas of the 1940s and 1950s. Noir is described more as a style of filmmaking than a genre. Noir is like flora growing out of the wreckage of a fire—a sentiment caused by destabilizing societal conflicts. For the 40s, that was the post-war sentiment, which brought with it a new sense of fatalism, cynicism, and disillusionment within society, thus giving genre pictures like the gangster genre, the courtroom genre, or a simple crime film an added sense of pessimism. Here we recommend "The Rope", "Gun Crazy", "The Killing", "Laura", "Detour", and others.

Add these "10 Great Noir Films Under 90 Minutes" to your immediate watchlist:
www.highonfilms.com/noir-films-that-are-under-90-minutes/

When I searched for a definition of iconic, several of the sources said something along the lines of “being an icon.” I generally think of an icon as a person. You don’t typically hear of a film being referred to as an icon, though we do frequently hear certain American movies described as iconic. The Godfather (1972) is often cited as a quintessential example. The Cambridge Dictionary defines iconic as “relating to or characteristic of a famous person or thing that represents something of importance.” In the context of movies, I would say that an iconic film has a certain historical or cultural relevance or importance. The Empire Strikes Back (1980), for instance, has had a lasting impact on popular culture. Iconic movies are not simply of their time; their significance goes beyond the products themselves. They do more than say something about our culture at the time — they may actually change our culture. Jaws (1975) is a film that fundamentally altered the movie industry and audience expectations. American iconic movies come from a place where they are quotable, rewatchable, offer the most memorable characters, get parodied or downright ripped off, influence other elements of our culture, and infect our daily lives outside of the context of the actual film. Die Hard (1988) exemplifies this with its enduring catchphrases and influence on the action genre. This list includes ten American movies that I consider the most iconic.

Here Are The 10 Most Iconic American Movies of All Time:
www.highonfilms.com/iconic-american-movies-of-all-time/

The relationship between a father and his kids is strangely beautiful. Unlike the relationship you share with your mother, this one is quite complex. In one lifetime, the dynamics between you and your father keep changing. Sometimes, he plays an Authoritarian Teacher; he is a pal throwing balls at you on other days. When you grow up, you two start behaving like acquaintances with little exchange of words until, one day, you see the wrinkles on your old man's face and realize that now is the time for role reversals. The Child becomes the father, and the father becomes the child. This list mentions Interstellar, Call Me By Your Name, Prisoners, Finding Nemo, and Oldboy, among others.

Add these films to your watchlist right now:
www.highonfilms.com/25-memorable-movie-fathers-21st-century/

Robin Williams, a beloved and versatile actor, left an indelible mark on the world of cinema with his dynamic and memorable performances. His filmography spans various genres, showcasing his comedic brilliance, dramatic depth, and innate ability to connect with audiences. From iconic roles in comedies like "Mrs. Doubtfire" (1993) and "Good Morning, Vietnam" (1987) to poignant performances in films like "Dead Poets Society" (1989) and "Good Will Hunting" (1997), Williams displayed his range and emotional depth. He also embraced voice acting and charming audiences like the Genie in Disney's animated classic "Aladdin" (1992). Williams's exceptional talent extended to thrillers such as "Insomnia" (2002), demonstrating his versatility. Even in family-friendly fare like "Night at the Museum" (2006), his presence illuminated the screen. Williams' impact on film continues to resonate, as his work remains a source of joy, laughter, and inspiration for generations to come.

Here Are 10 Best Performances of Robin Williams:
www.highonfilms.com/robin-williams-movies/

He is an incessant talker, a man-child who has seen all the cinema in the world and one who truly loves to bring back what made his favorite movies great in the first place. Quentin Tarantino is Pastiche personified. Quentin Tarantino, in his own way, mixes the most commonly known ingredients of film culture and prepares a truly original dish every single time. From the iconic dialogue of 'Pulp Fiction' and 'Reservoir Dogs to the stylish violence of 'Kill Bill,' the revisionist history of 'Inglourious Basterds,' and the Western homage of 'Django Unchained,' Tarantino's films are a testament to his unique cinematic knowledge and vision.

Here's how we have ranked All Quentin Tarantino Movies:
www.highonfilms.com/all-quentin-tarantino-movies-ranked/

Martin Scorsese’s Taxi Driver (1976) introduced one of the most iconic characters of Cinema in the form of Travis Bickle, brilliantly played by the great Robert De Niro. An alienated antihero for the age, Travis both fed off and fed into the perceived moral degeneration observed from the vantage point of the yellow cab he steers around the garbage-strewn streets of New York. Taxi Driver operates on various levels—with its thematic and stylistic reflections, with its evocation of the political climate around the time of its release, which was characterized by the corruption of the Watergate scandal, the legacy of the Vietnam War, and the poor economic conditions in New York City. We have mentioned in the article why we recommend films such as The Searchers (1956), Pick Pocket (1959), or The Leopard (1963), among others.

Here Are 10 Films You Should Watch If You Liked 'Taxi Driver':
www.highonfilms.com/films-like-taxi-driver-1976/

2024 was a great year for cinema, producing many films destined to become future classics, but none have been instantly heralded as an all-time masterpiece quite like The Brutalist. Brady Corbet’s epic character study of a Hungarian-Jewish architect who immigrates to America is a shocking examination of the cruelty of capitalism and an intimate exploration of the artistic process. Much like The Pianist, which vividly portrays the resilience of an artist amid historical atrocities, The Brutalist immerses its audience in the struggles of its protagonist with unflinching honesty. While Corbet’s film will undoubtedly be analyzed for years due to its dense social and political commentary, it also stands as a remarkable achievement for independent cinema.

One of the greatest joys of The Brutalist is its reverence for classical storytelling, something increasingly rare in modern Hollywood. In an era where spectacle-driven blockbusters dominate the industry, Corbet’s meticulous craftsmanship echoes the narrative grandeur of Citizen Kane, a film that dissected the cost of ambition with the same artistic rigor. The film’s exploration of obsession and personal sacrifice recalls There Will Be Blood, another towering character study about a man consumed by his aspirations. Similarly, The Immigrant captures the raw emotional turmoil of displacement and reinvention, themes that The Brutalist tackles with haunting precision.

Here are 8 Great films to watch if you loved The Brutalist:
www.highonfilms.com/movies-to-watch-if-you-like-the-brutalist/

Having made some of the greatest films of the decade, namely, There Will Be Blood (2007), The Master (2012), and now Phantom Thread (2017), PT Anderson is a giant of Hollywood whose films are closest to Stanley Kubrick's ambiguous cinema. To those who ire Phantom Thread, the list below encapsulates films that are similar to Phantom Thread in of common elements, structure, and thematic concerns of the filmmakers. If you look closely, there is a bit of Scorsese's The Age of Innocence (1993) and Hitchcock's Psycho (1960) & Rebecca (1940) in Phantom Thread.

Here Are 10 Films Like Phantom Thread:
www.highonfilms.com/films-like-phantom-thread-2017/

In 2018, rumblings of a new Batman film echoed across the internet as Warner Bros hobbled around to make sense of its chaotic DC Cinematic Universe. Those rumblings became screeches when Robert Pattinson was announced as the new caped crusader. Those screeches devolved into war cries as film “gurus” took Pattinson’s joke about not working out to become Batman a little too seriously. Then the famous first look teaser dropped with Pattinson decked out in his Batsuit. He walked towards the screen to Michael Giacchino’s gothic score, transforming the not-so-unanimous trepidation into genuine hype. And now that the movie is out and has been watched, it’s safe to say that everyone from Reeves to Pattinson has delivered in droves. During this process, Reeves turned to a bunch of movies and comics to co-write the script with Peter Craig. He drew heavily on comics like Batman: The Long Halloween (1996-1997) and Dark Victory (1999-2000). However, as the title suggests, this list is about Reeves’s cinematic inspirations, so we are going to limit our focus to just that. Now, Reeves has explicitly mentioned some of these movies. From The French Connection to Chinatown to Zodiac to Taxi Driver to Se7en to others, here are all 11 movies that inspired Matt Reeves' The Batman Movies:

www.highonfilms.com/movies-that-inspired-the-batman-2022/

This past April (better late than never) saw the 70th anniversary of one of the great film classics from one of cinema’s most essential artists. Seven Samurai has long been held as one of the most important, influential pieces of filmmaking of the 20th century, and by that token, its architect, Akira Kurosawa, has maintained his grip as one of the most celebrated directors to have ever lived. Occupying a unique space as a noted export of Japanese cinema who took strong influence from his counterparts in the West, much debate has been held, from the time of his peak to long after his death, as to whether or not Kurosawa can truly be considered an emblematically “Japanese” filmmaker. 

There is, however, no denying that in his catalog, Kurosawa has dedicated much time and care to exploring the mindsets of the Japanese population across a tumultuous historical period—you’d be hard-pressed to find a Japanese director of this era who didn’t tackle ideas of national identity and postwar nuclear paranoia following World War II. Across 50 years and 30 films (including 1965's Red Beard), Kurosawa peeled back Japan’s hardened shell to reveal a beating heart touched by a sense of real humanism, and the wide range of genres and periods he’d take on in these films only proved a further testament to his enduring legend. His top 10 comprises Rashomon, Ran, High and Low, and Yojimbo, among others

Here Are The 10 Best Akira Kurosawa Films:
www.highonfilms.com/top-ten-akira-kurosawa-movies/

The realm of cinema has gifted audiences with timeless tales of canine companionship, and the best dog movies of all time capture the heartwarming essence of these loyal four-legged friends. From the classic charm of "Lassie" to the animated brilliance of "Lady and the Tramp," these films celebrate the unique bond between humans and dogs. Wes Anderson's "Isle of Dogs" offers a visually stunning and emotionally resonant tale, while the animated adventure of "Bolt" showcases the endearing partnership between a dog and his human. "Marley & Me" delivers a rollercoaster of emotions, blending humor and heartfelt moments, and "Hachi: A Dog's Tale" stands as a testament to unwavering loyalty, leaving an indelible mark on the collective love for man's best friend in the cinematic universe.

Here Are The 25 Best Dog Movies of all Time:
www.highonfilms.com/great-dog-movies-to-watch/

Believe me when I say this, and I think I can vouch for every single cinephile in the world: no movie-watching experience is as satisfying as a good, scary, and creepy horror film! The aftermath, the lingering effect, and the discomfort it implodes in your mind and subsequently in your body are simply awe-inspiring. No movie genre (if done right) can have that kind of upshot on its audience other than horror. Paranormal, in its truest sense. A true-blue horror geek would always thrive on genre-defying experiences like Hereditary, The Witch, or In Fabric, where it takes more than an angry, vengeance-seeking spirit to scare you. The atmosphere, milieu, character graph, and complexity of the conflict play a bigger part. So, I decided to list some of my life's most rewarding foreign horror movies that go beyond Hollywood. Here are some of the finest international horror movies post-2010 on various OTT platforms, spicing up your day (or night) a little more. We recommend films like The Wailing, Veronica, Terrified, and Under the Shadow.

Here Are 10 Great Foreign Horror Movies You Can Watch Right Now:
www.highonfilms.com/best-foreign-horror-movies-to-watch/

Nosferatu (2024), directed by Robert Eggers, reimagines the legendary 1922 silent film classic. It brings a fresh yet eerie perspective to the iconic vampire myth. Known for his mastery of atmospheric horror and historical authenticity, Eggers creates a chilling retelling of Count Orlok’s tale. The film captures the same haunting tension and visual storytelling seen in his previous works like The Witch and The Lighthouse. The cinematography, by DOP Jarin Blaschke, echoes the ominous lighting and stark shadows of the original. It adds a unique modern twist. With a mesmerizing performance by Bill Skarsgård as the terrifying vampire, Nosferatu (2024) captures the original’s haunting aura while expanding its thematic depth. If you were drawn to its eerie atmosphere and dark, immortal themes, these 7 classic vampire movies will be a perfect follow-up. Here we recommend obvious choices like Nosferatu (1922), Dracula (1931), and Nosferatu The Vampyre (1979) among other not-so-obvious choices.

Here Are 7 Movies To Watch If You Loved Robert Eggers' Nosferatu:
www.highonfilms.com/classic-vampire-movies-like-nosferatu-2024/

Finding a laugh-out-loud comedy that suits your mood might feel like searching for a needle in a haystack within Netflix’s vast entertainment library. Fear not, for your search ends here amidst the barrage of subpar attempts at humor. Netflix offers a wide variety of comedy movies for every taste, whether you’re in the mood for a lighthearted romantic comedy like Barbie, a boisterous buddy comedy such as 21 Jump Street, or a sharp satirical laugh like Don't Look Up. The platform also features hilarious gems like Logan Lucky, which combines wit and charm, and classics like Meet the Parents, which never fails to deliver laughs.

Here Are The 10 Best Comedy Movies to Watch on Netflix Now:
www.highonfilms.com/best-comedy-movie-netflix-right-now/

If you enjoyed the mind-bending thriller "Shutter Island," you'll find these 10 films equally captivating and enthralling. "Inception" delves into dreams and reality, while "Black Swan" explores psychological turmoil and the dark side of ambition. "Primal Fear" delivers a riveting courtroom drama, while "Prisoners" keeps you on edge with its intense and suspenseful story. Enter the surreal world of "Mulholland Drive" to experience a haunting and enigmatic journey. Alfred Hitchcock's "Vertigo" takes you on a mesmerizing psychological thriller, while "Nocturnal Animals" offers a haunting tale of revenge and redemption. Each film promises an unforgettable cinematic journey filled with suspense, intrigue, and psychological depth.

Here Are 10 Films To Watch If You Liked Shutter Island (2010):
www.highonfilms.com/films-to-watch-if-you-like-shutter-island-2010/

Hulu, known for its captivating original content, showcases a stellar lineup of films that captivate audiences. "Palm Springs" offers a fresh take on the romantic comedy genre, blending humor and heart in a time-loop narrative. "Run" delves into psychological thriller territory, keeping viewers on the edge of their seats as secrets unravel. In "Prey," a suspenseful survival tale unfolds, showcasing intense human resilience. "Happiest Season" brings a delightful twist to a holiday romance, embracing inclusivity and love. Additionally, "The United States vs. Billie Holiday" explores powerful themes of racial injustice and artistry, while "Boss Level" adds a thrilling blend of action and humor. Hulu's original films boast diverse genres, catering to a broad spectrum of cinematic tastes.

Here Are The 20 Best Hulu Original Films, Ranked:
www.highonfilms.com/best-hulu-original-films/

Most Hollywood blockbuster films typically have an hour and a half or more runtime. However, some narratives are so complex that they require more time to delve into their deeply layered storylines. In today’s fast-paced world, though, some viewers may find it challenging to dedicate three hours or more to watch a single film, especially if they prefer shorter viewing experiences due to limited free time. Here we recommend some 3-hour-long movies such as  Titanic, The Lord of the Rings: The Return of the King, Schindler's List, The Godfather: Part II, and The Irishman, among others.

Here Are 10 Thrilling 3-hour-long Movies Like Oppenheimer:
www.highonfilms.com/3-hour-long-movies-like-oppenheimer/

The 1990s bore witness to an enthralling array of trial movies that ensnared audiences with their enthralling courtroom battles and compelling narratives. "A Few Good Men" (1992) masterfully dissected military ethics, while "Philadelphia" (1993) confronted AIDS discrimination head-on. "My Cousin Vinny" (1992) injected humor into legal proceedings, and "Primal Fear" (1996) unveiled shocking revelations. "A Time to Kill" (1996) poignantly navigated racial tensions, while "In the Name of the Father" (1993) powerfully exposed injustice. The haunting trauma of "Sleepers" (1996) left a lasting impact. These films not only showcased intricate legal complexities but also mirrored and scrutinized the profound societal dynamics of the era.

Here Are The Top 15 Trial Movies of the 1990s, Ranked:
www.highonfilms.com/top-trial-movies-of-the-1990s-ranked/

"Five films spotlighting troubled geniuses showcase the complex interplay between brilliance and inner turmoil. In 'Good Will Hunting,' we witness the struggle of a janitor with unparalleled mathematical talent grappling with his past and potential. 'The Royal Tenenbaums' explores the fractured lives of a gifted but dysfunctional family, each member a genius in their own right. 'The Imitation Game' portrays Alan Turing's genius in code-breaking during World War II, juxtaposed with his personal struggles and societal oppression as a gay man. 'Phantom Thread' delves into the intricate mind of a genius fashion designer whose creative brilliance is entangled with obsession and control. 'The Theory of Everything' sheds light on Stephen Hawking's remarkable scientific contributions while chronicling his battle with ALS, highlighting the resilience of the human spirit amidst physical adversity."

Here Are 15 Great Films About Troubled Geniuses:
www.highonfilms.com/films-about-troubled-geniuses/

One great American movies that boldly explore nihilism is "Fight Club," which challenges societal norms and consumer culture as its protagonist descends into anarchic disillusionment. "American Psycho" dissects the hollowness of excess and privilege, unraveling the emptiness beneath the veneer of success. In "Taxi Driver," a mentally disturbed protagonist navigates a decaying urban landscape, embodying nihilistic despair. "No Country for Old Men" confronts the chaotic and indifferent nature of the universe through its relentless antagonist. Meanwhile, "A Clockwork Orange" delves into the dark depths of human nature and societal decay, echoing nihilistic undertones in its disturbing narrative

Here's Are 10 Great American Movies That Explore Nihilism:
www.highonfilms.com/great-american-movies-that-explore-nihilism/

Fantasy is often listed as merely swords and sorcery. This is not to say it isn’t considered a serious cinematic force in the world. Peter Jackson’s The Lord of the Rings Trilogy, as well as Game of Thrones, have helped catapult fantasy into the popular imagination, certainly, but often to a detriment. There seems to be a growing divide between what we call Fantasy and the Fantastical, although, of course, they are the same thing. What we do see is a rigid definition of what we call a work of fantasy, though. Swords and Sorcery, political intrigue, sweeping epics, trilogies, shows, and so forth. I wish to propose an alternative to this. Instead, let us look at another way to view fantasy and the fantastical that doesn’t involve something necessarily rooted in Middle Earth. Think of the surreal landscapes and imaginative storytelling of Howl's Moving Castle (2004) or the nightmarish vision of David Lynch's Eraserhead (1977). Satoshi Kon's Paprika (2006) takes us on a mind-bending journey through dreams and reality, while Alejandro Jodorowsky's The Holy Mountain (1973) challenges our perceptions with its psychedelic odyssey.

Here's Are 10 Fantasy Films You Should Add To Your Watchlist:
www.highonfilms.com/overlooked-fantasy-films/

Mental illness is a recurring topic in the film. It can be used to explore timely issues in society (where 1 in 4 people experience some form of mental illness in their lifetimes), conduct a deep and compelling character study, or shock audiences with an unreliable protagonist. Although not all depictions of mental illness are positive—and Hollywood undoubtedly exploits the topic in damaging ways—some real masterpieces have been borne from probing a protagonist’s complex psyche. True stories and Oscar-winning performances litter this list, showcasing some of the cinema's best-loved psychological films. And we don’t just mean sad-man-sitting-at-a-bar kind of thing. These films grapple with real and difficult experiences. (Therefore: trigger warning). There’s no way we could fit them all onto this list, but here’s a handful of the best. Here, we recommend films like The Perks of Being a Wallflower (2012), Take Shelter (2011), It's Kind of a Funny Story (2010), and Matchstick Men (2003), among others.

Here Are 12 Great Movies That Explore Mental Illness:
www.highonfilms.com/mental-illness-films/

Films that deal with adolescence have achieved and maintained an unrivaled cultural relevance; when done well, they are touching and relatable, a way for us to laugh at ourselves, or at least our younger, presumably sillier versions. However, following the changes in the contemporary film landscape, so-called “teen films” have also undergone a significant stylistic and thematic shift, which makes them arguably the most diverse film genre. While fan favorites like “Mean Girls” and “Clueless,” or even “Heathers” haven’t lost their appeal, this list discusses some surprising and unique films about growing up that bring fresh perspectives into the mix. In this list, we recommend films like Lady Bird (2017), Edge of Seventeen (2016), Eighth Grade (2018), and Persepolis (2007), among others.

Here Are 10 Unconventional Films About Teenage Girls:
www.highonfilms.com/unconventional-films-about-teenage-girls/

The movies of Ingmar Bergman contain multitudes. His achingly humane dramas meditate on grief, loss, the process of aging, and the inevitable wrath of death. They do so both on the surface – with the closely observed performances and gorgeous deep-focus cinematography provided by his impeccable stable of collaborators – and underneath it, as layers of intricate and complex storytelling unfurl with every rewatch. If you are scratching your head in wonder trying to decipher the essence of Bergman, you’re not the only one. You a long list of dedicated fans, including New Hollywood doyens Martin Scorsese and Woody Allen, who have spent their lengthy careers in artistic debt to the Swedish master. If an artist’s merit is determined by his cultural impact, then Bergman can rank among the best.

Whittling down Bergman’s enormous and impressive filmography to a top 10 is a truly futile task. Still, in this listicle, I hope to provide an insight into why these existentialist Scandi-dramas remain such a constant source of fascination, inspiration, and entertainment for generations of cinephiles. They mix vaunted classics with relatively overlooked masterpieces. Among his 10 best films are Persona, Autumn Sonata, Scenes from a Marriage, and Fanny and Alexander.

Here Are The 10 Best Ingmar Bergman Films:
www.highonfilms.com/best-ingmar-bergman-films/

Woody Allen's expansive filmography, spanning over six decades, is a testament to his unparalleled contribution to cinema. Commencing in the 1960s, Allen's unique blend of wit, neurotic humor, and intellectualism has left an indelible mark on the industry. Early masterpieces like "Annie Hall" (1977), which earned him Academy Awards for Best Director and Original Screenplay, showcased his ability to navigate complex relationships. "Manhattan" (1979) further highlighted his distinct visual style and narrative finesse. Later works, including the enchanting "Midnight in Paris" (2011) and the exotic "Vicky Cristina Barcelona" (2008), continued his exploration of existential dilemmas and comedic introspection. Despite controversies, Allen's cinematic legacy, encoming the recent "A Rainy Day in New York," stands as a captivating mosaic of human complexity.

Here Are The 10 Best Films Written and Directed by Woody Allen:
www.highonfilms.com/best-films-of-woody-allen/

2014 marked a memorable year in cinema, brimming with iconic films that defied traditional genres. Yet, amidst these well-celebrated works, films like Enemy and Under the Skin left audiences pondering their enigmatic narratives, while Locke and Frank offered unique cinematic experiences. Meanwhile, The Skeleton Twins and The Rover provided deep emotional journeys and gritty realism, respectively. As we reflect on the films that captivated audiences, it’s evident that numerous powerful works did not receive their due recognition. In tribute to these hidden treasures.

Here Are the 20 Most Underrated Films from 2014 that demand attention:
www.highonfilms.com/underrated-films-of-2014/

Juliette Binoche has deservingly carved out her place as perhaps her generation’s most recognizable French performer. Godard, Denis, Haneke, Kiarostami, Carax, Malle, Kieslowski, Cronenberg, Kore-eda, Hou Hsiao-hsien, Akerman, and Ferrara – just a few of global cinema’s titans who have lined up to work with this indomitable performer over the last four decades. Her face has a potency that traverses genres and borders, her vivid features capturing the burning empathy that defines her greatest roles. From her mesmerizing performance in 'The English Patient' to her poignant portrayal in 'Three Colors: Blue', her captivating role in 'Chocolat', the sci-fi epic 'Godzilla (2014)', and her recent work in 'The Taste of Things (2023)', Binoche's filmography is a testament to her extraordinary talent.

Here Are The 10 Best Juliette Binoche Performances:
www.highonfilms.com/best-juliette-binoche-performances/

The world of cinema has been graced by the enchanting allure of movie musicals, where storytelling seamlessly intertwines with the magic of song and dance. Certain productions stand out as the epitome of this harmonious fusion among the plethora of cinematic gems. From the timeless elegance of "Singin' in the Rain" and the riveting drama of "Amadeus" to the poignant love story in "The Umbrellas of Cherbourg" and the iconic cultural clash in "West Side Story," these movie musicals transport audiences into realms where emotions are expressed through melodic cadences. Evoking joy, heartache, and everything in between, these masterpieces, alongside the visual symphony of "Fantasia," not only showcase the prowess of their performers but also leave an indelible mark on the cinematic landscape, ensuring their legacy as the best in the genre.

Here Are The 10 Best Movie Musicals in Cinema:
www.highonfilms.com/best-movie-musicals/

Some of the best movies culminate in electrifying dance sequences that leave audiences spellbound. "Jojo Rabbit" embraces the vibrant and heartwarming energy of a dance, infusing hope and unity. "Guardians of the Galaxy Vol. 3" bursts with a cosmic dance finale, uniting the quirky team and showcasing their camaraderie. "Another Round" ends on a poignant note with a liberating dance, symbolizing personal transformation. "Rushmore" and "Paddington 2" also feature memorable dance sequences that punctuate their narratives, leaving a lasting impression on the audience. These films harness the magic of movement, bringing the narrative to a mesmerizing and rhythmical close.

Here Are 10 Movies That End in a Dance:
www.highonfilms.com/best-movies-that-end-in-dance/

Cinema has the power to move you. While some films can fill you with a breath of rain-washed garden air, others can make you feel as if you have been dragged through the dirt. Similarly, some films can make you feel extremely stressed while you are watching them, almost as if you are a part of the film’s racy premise. This can give rise to feelings of anxiety in any individual. According to the American Psychological Association, anxiety is an emotion that leads to feelings of tension, worried thoughts, and physical changes in an individual. It is important to mention here that different kinds of stressors can lead to feelings of anxiety in an individual. These stressors mostly vary from individual to individual. For example, I tend to feel jittery when I watch a film shot in a confined space. For someone else, a film portraying a certain relationship or the lack of one may trigger them.

Following is a list of movies across world cinema from the decade of 2010 that, according to popular opinion, have made for an anxiety-inducing watch. These films are known to make you feel uncomfortable, sick in your stomach, and, in a few cases, breathless because of how they portray certain situations, especially exploring the human psyche. Films such as Whiplash, The Autopsy of Jane Doe, Take Shelter, Son of Saul, Buried, and Two Days, One Night, among others.

Here Are The 20 Most Anxiety-Inducing Movies of the 2010s Decade:
www.highonfilms.com/best-anxiety-inducing-movies/

Within the pantheon of the best historical dramas of all time, a rich tapestry unfolds across diverse epochs and narratives. Stanley Kubrick's "Barry Lyndon" stands as a visual marvel, immersing viewers in the 18th-century European aristocracy with its meticulous attention to period detail and stunning cinematography. David Lean's "Lawrence of Arabia" remains an epic masterpiece, blending vast desert landscapes with Peter O'Toole's mesmerizing portrayal of T.E. Lawrence. Martin Scorsese's "Silence" delves into the historical and spiritual complexities of 17th-century Japan. At the same time, "The Death of Stalin" presents a darkly comedic perspective on the power struggle that ensued following the Soviet leader's demise.
In a departure from traditional narratives, "The Assassination of Jesse James by the Coward Robert Ford" unfolds a nuanced exploration of the Old West, skillfully portrayed by Brad Pitt and Casey Affleck. Carl Theodor Dreyer's silent classic "The ion of Joan of Arc" captures the historical trials and tribulations of the iconic French figure with unparalleled intensity. Ron Howard's "Apollo 13" brings the real-life drama of the ill-fated lunar mission to the forefront, combining historical accuracy with gripping storytelling. Together, these films exemplify the diverse and compelling narratives that define the pinnacle of historical cinematic storytelling.

Here Are The 20 Best Historical Dramas of All Time:
www.highonfilms.com/best-historical-dramas/

If you were captivated by the mind-bending complexity and thrilling narrative of "Inception" (2010), here are five films that will keep you on the edge of your seat. "The Matrix" (1999) offers a similar exploration of reality and perception, packed with mind-bending action sequences. David Lynch's "Mulholland Drive" (2001) takes you on a surreal journey through dreams and identity. "Paprika" (2006), an animated masterpiece, blurs the lines between dreams and reality in a visually stunning and thought-provoking manner. Terry Gilliam's "Twelve Monkeys" (1995) follows a time-traveling quest to prevent a global pandemic, filled with twists and turns. "Vanilla Sky" (2001) presents a mind-bending romantic thriller, that challenges the boundaries of reality and illusion. Lastly, Ingmar Bergman's "Wild Strawberries" (1957) offers a contemplative exploration of life, dreams, and memories. Each of these films provides a captivating experience akin to the intricate and immersive world of "Inception."

Here Are 10 Films To Watch If You Love Inception (2010):
www.highonfilms.com/films-like-inception-2010/