Film

Will (2024) is just another WWII movie doing little to push the medium—the areas where it attempts to are more exhausting than impactful.

While intended for kids, Orion and the Dark sits firmly with the rest of Kaufman’s oeuvre, packing an existential punch that resonates.

Jason Schwarzman plays a cantor who’s lost his voice and has to learn to love himself again in Between the Temples

The way Dìdi places you firmly in 2008 is uncanny, but the way it tells that history just slightly differently than how it probably was is perfect.

Powerful, somber, and with just the right amount of hope, Black Box Diaries is one of the most stunning uses of documentary filmmaking.

Kneecap is a chronicle of a particular group and a rallying cry all in one bringing Ireland and its language to the front of film.

Kidnapping Inc. is the type of off-color humor, action movie that works perfectly for a Midnight film at a festival.

In The Summers is a painfully perfect film about the anguish loving your family can cause and the way our memories change as we age.

Love Me (2024) is interesting, to say the least. A buoy and a satellite fall in love and find sentience and belonging along the way.

Miller’s Girl is aimed at pushing buttons, but it isn’t tantalizing or intriguing; it’s just absolutely boring.