Grotesquely overlong and painfully superficial, The Unknown could perhaps work as a short film, but not as a feature.
Tender and elegantly told, Coward is a beautiful small film about love in the midst of gargantuan events.
While Sanguine occasionally stumbles in its ambition, this is a thoughtfully scary and funny satire that succeeds far more than it fails.
Frustratingly shallow and limited in its vision, Fjord raises heavy subjects, but refuses to engage with them on a meaningful level.
Heartbreaking and oddly uplifting, The Man I Love is a soulful elegy for those we've lost, and how they stay with us forever.
A romanticized story of martyrdom that is far more fascinated with the pain and torture than it is the subject itself.
The whole film is like a masterfully crafted eclaire, fluffy and light, and potentially delightful at first bite, but then nothing but empty calories without any payoff.
Clever and unexpected, if never quite scary, Colony is a thrilling zombie romp from one of the masters of the genre.
Vibrant and compelling thanks to an electrifying leading performance from Bradley Fiomona Dembeasset, Congo Boy is a hugely promising debut feature worth seeking out.
I don't know what I just saw, but I loved it.
First week on the road from Cannes 2026.
Pawel Pawlikowski's quiet but tremendously vibrant Fatherland is a road movie about the multitudes of grief.
