Justine Triet’s courtroom drama is less about guilt than about the impossibility of knowing another person’s interior life — and what we demand from the people we love.
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Jonathan Glazer’s most disturbing film yet — and also his most formally austere.
Celine Song’s debut handles grief, migration, and love with a precision that stings.
Hamaguchi turns a village dispute into a meditation on what we erase in the name of progress.
Jesse Eisenberg finds an emotional directness he hadn’t previously reached as a filmmaker.
Andrew Haigh’s ghost story is a masterclass in restraint and heartbreak.
Audiard’s genre experiment is audacious, flawed, and impossible to dismiss.
From Heretic to The Substance: what the current wave of European horror is actually afraid of.
