Egghead Republic
Pella Kagerman and Hugo Lilja take on edgelord media with an inventively comic touch in ‘Egghead Republic’.
Pella Kagerman and Hugo Lilja take on edgelord media with an inventively comic touch in ‘Egghead Republic’.
The screen-time satire ‘Babystar’ delivers sharp observations about social media coupled with a surprisingly bold visual style.
‘Saipan’ scores big in a thrilling true story about off-pitch football shenanigans.
Polish director Agnieszka Holland discusses ‘Franz’, her “punky” Toronto-bowing take on the novelist Kafka.
A family falls apart into each other’s arms in Hlynur Palmason’s distinctive ‘The Love That Remains’.
Newcomer Idan Weiss shines in Agnieszka Holland’s vivid portrait of the tortured writer, Franz Kafka.
‘Julian’ is the sentimental and stirring true story about a tragic romance and the battle for queer rights.
Blending MCU levels of fan service with British baking-competition levels of coziness, this final entry in the beloved historical drama satisfyingly brings gentry and staff alike into the 1930s.
The once-scary paranormal franchise finally gives up the ghost – and none too soon.
The head of EFP’s Film Sales Support speaks frankly about the challenges facing European film sales at home and abroad.
The Toronto International Film Festival celebrates its fiftieth birthday this year, but by no means are they riding on cruise control. Even as they welcome dozens of stars on the red carpet, preparations are underway for the launch of a full-fledged market in 2026. It’ll be the third on the calendar attached to major festivals, […]
The Venice bow of the restored version of Tsai Ming-liang’s Golden Lion winner ‘Vive L’Amour’ is just the latest stop on Taiwan Film and Audiovisual Institute’s festival tour, showcasing Taiwanese cinema, history and culture.
Amanda Seyfried is on a mission from God in writer-director Mona Fastvold’s audacious, ambitious and mostly excellent avant-garde feminist musical about a real-life 18th century messianic female religious leader ‘The Testament of Ann Lee’.
Marianne Faithfull died while making the arty swansong documentary ‘Broken English’, which is hampered by too much stylistic trickery but still delivers a rich mixtape of music, memories and boho-rock royalty.
A farcical crimefest with a dark side, Park Chan-wook’s ‘No Other Choice’ amplifies the inhumanity of modern industry and the utter ruthlessness of salaried work in an engaging film full of unexpected twists.
Emma Stone reunites with ‘The Favourite’ and ‘Poor Things’ director Yorgos Lanthimos for ‘Bugonia’, a slight but enjoyably bizarre remake of a cult Korean sci-fi kidnap comedy.
Toni Servillo shines in a memorable, tragi-comic performance as the president of Italy in Paolo Sorrentino’s crowd-pleasing Venice opener ‘La Grazia’, an often funny, sometimes moving tale of the Numero Uno’s loneliness, inner doubts and obsessions and his inability to make up his mind on difficult legislation like euthanasia.
Darren Aronofsky’s violent screwball tragedy might be his most “mainstream” movie to date, but it displays the intensity and darkness that’s become his calling card.
Stefan Dordevic’s sensitive doc portrait of grief won top honors at the 31st Sarajevo Film Festival.
Jean-Stéphane Bron tackles TV thriller territory with his series debut “The Deal”, screened out of competition in Locarno.
While this follow-up lacks the wicked surprises of the original — it’s a sequel, after all — Bob Odenkirk’s nebbishy super-assassin and Sharon Stone’s deranged super-villain make for an amusingly violent late-summer trifle.
Past traumas are at the center of Zijad Ibrahimovic’s documentary ‘The Boy from the River Drina’, screened in Locarno’s Panorama Suisse section.
Jamie Lee Curtis and Lindsay Lohan reteam for an amiably laugh-filled comedy that brings the body-switch hi-jinks to a new generation of misunderstood teenagers.
The gags fly fast and furious as Liam Neeson and director and co-writer Akiva Schaffer revive the outrageous film and TV franchise from Zucker-Abrahams-Zucker.
Marvel’s original superhero team once again falters in a big-screen adaptation, one that’s heavy on period gloss but light on engaging characters.
The occasional bursts of visual style and clever humor come too few and far between in this dreary do-over of the big blue franchise.
Stories told “honestly and unapologetically” proved a winning strategy at the 6th Amman Intl Film Festival – Awal Film, an intimate, carefully programmed showcase for cinema from the Arab countries and beyond that is asserting itself as a major cultural event in the region.
When documaker Areeb Zuaiter in the U.S. stumbles across the Internet videos of daredevil Ahmad, a teenage parkour athlete in Gaza, they begin a heartfelt long-distance friendship that becomes entwined with the filmmaker’s sense of belonging to her mother’s Palestinian homeland, in the fascinating and revealing meeting of worlds, Yalla Parkour.
From a cash rebate up to 45% for foreign productions shooting in Jordan to educational programs to develop filmmakers and audiences, Jordan’s Royal Film Commission has become a leading force in the MENA region for film culture.
With 150 film submissions, it’s already a win to be among the projects selected at the Amman Film Industry Days.
The Man of Steel soars again in a superhero saga that plays to writer-director James Gunn’s considerable strengths at genre storytelling.
Amman International Film Festival – Awal Film (AIFF) raises the curtain on Arab and international films for the 6th time, during a pause in Mideast hostilities and the ongoing tragedy in Palestine.
This latest entry roars to life only when humans are directly facing dino-danger – and it takes far too long to get them there.
Sequel to the sleeper hit veers away from horror into comic-thriller territory, delivering jolts and satirical laughs, though not quite enough of either.
The cars go vroom but the characters fail to register in this technically proficient and dramatically vacant auto-racing saga.
Some of the best discoveries of Asian cinema at Cannes this year took place in the Classics programme, with overlooked auteurs from marginal countries receiving belated acclaim.
The diversity of art was a running theme at the 78th Cannes Film Festival, where an Iranian filmmaker won the Palme d’Or and Japan emerged strong.
Outspoken Iranian director Jafar Panahi takes the Palme d’Or with his daring ‘It Was Just an Accident’.
Never has the world felt closer to the threats of rising fascism described by George Orwell than now, as filmmaker Raoul Peck (‘I Am Not your Negro’) lucidly shows in his new documentary ‘Orwell: 2+2=5’.
En la competencia por la Palma de Oro, el 3er. largometraje de la cineasta española Carla Simón, Romería, ofrece un apasionante drama familiar que gira en torno a una joven en su búsqueda por la verdad sobre la muerte prematura de su padre.
Jafar Panahi has never been more explicit in denouncing the torture political prisoners are subjected to in Iran, or the furious longing for revenge that haunts the state’s victims, than in ‘It Was Just an Accident’.
In the running for the Palme d’Or at Cannes, Spanish filmmaker Carla Simón’s third feature “Romeria” offers gripping family drama revolving around a young woman’s search for the truth about her father’s early demise.
Kirill Serebrennikov’s muscular biopic ‘The Disappearance of Josef Mengele’ about the elusive Nazi fugitive is a real-life horror story, sprawling at times but powered by strong performances and great visual swagger.
Stéphane Demoustier directs an elegant film about the dilemma of creators on a real-life project.
El thriller argentino ‘Más allá del olvido,’ dirigido por Hugo del Carril, recibe una merecida actualización en Cannes Classics, 70 años después de su estreno.
The Argentinean thriller directed by Hugo del Carril ‘Beyond Oblivion’ gets a well-deserved brush-up at Cannes Classics, 70 years after its release.
Since 2004, the Cannes Film Festival has actively devoted part of its programming to restored gems, via the Cannes Classics strand.
Oscar-winner Edward Berger’s papal thriller is flashy, pulpy, yet empty entertainment.
When it comes to mob stories, Barry Levinson’s altos know the words but not the music.
Steven Soderbergh’s thrilling marital spy caper plays like an airport novel ghost-written by Edward Albee.