In the Summers (2024)

Direction: Alessandra Lacorazza Samudio
Country: USA 

Colombian-American writer-director Alessandra Lacorazza Samudio makes a positive impression with her audacious feature debut, In The Summers. This semi-autobiographical drama follows two sisters, embodied with nuance by Sasha Calle and Lio Mehiel, as they navigate the complexities of spending summers with their emotionally unstable, alcoholic Puerto Rican-born father (René Pérez) in Las Cruces, New Mexico. Structured in four evocative chapters, the film poignantly captures the relentless passage of time and the enduring impact of familial bonds. 

Rooted in raw authenticity, In the Summers unfolds with deliberate pacing, relying on moments of painful silence and emotionally charged dilemmas to tell its story. The chemistry between father and daughters is unsettling yet compelling, keeping viewers uneasy and attuned to the tension simmering beneath the surface.

Samudio’s direction is marked by precision and restraint, focusing on small yet significant details and situational clarity. The performances are heartfelt and layered, while the film’s formally measured approach draws viewers into its meditative exploration of connection, resilience, and the scars left by those we love most.

The Outrun (2024)

Direction: Nora Fingscheidt
Country: UK / Germany 

Set against the breathtaking landscapes of Scotland’s Orkney Islands, The Outrun marks German director Nora Fingscheidt’s third feature, an adaptation of Amy Liptrot’s best-selling memoir. The film follows the harrowing journey of Rona (Saoirse Ronan), a 29-year-old unemployed alcoholic who, after her chaotic life in urban London spirals out of control, voluntarily attends AA meetings and returns to her childhood home. Amid the rugged beauty of the islands, Rona confronts her past, shaped by a religious mother and a bipolar father, as she struggles to rebuild her life. 

Ronan, also serving as a producer, delivers a mesmerizing performance, infusing Rona with raw emotion and vulnerability. Known for her acclaimed roles in Lady Bird (2017) and Brooklyn (2015), she once again proves herself a powerhouse, capturing the turbulence of addiction and recovery with profound authenticity. Her portrayal mirrors the unpredictable Orkney weather: serene one moment, tumultuous the next.

Fingscheidt employs a non-linear narrative, weaving flashbacks with present-day scenes to explore Rona’s internal and external battles. The lyrical voice-over enhances the storytelling, offering glimpses into the protagonist’s thoughts and reflections. While the final scene slightly falters in execution, the film’s overall tone and rhythm remain consistently engaging, immersing the viewer in Rona’s world of constant struggle and fleeting victories.

At its core, The Outrun is a potent neo-realist drama—compassionate, intimate, and unflinchingly honest. Its unadorned approach, paired with Ronan’s deeply affecting performance, makes it a compelling exploration of addiction, redemption, and the healing power of returning to one’s roots.

The Apprentice (2024)

Direction: Ali Abbasi
Country: USA 

After the lukewarm reception of Holy Spider (2022), Iranian-born Danish filmmaker Ali Abbasi finds his stride with The Apprentice, his first English-language film. This biopic, penned by journalist and author Gabriel Sherman, employs artful dramatization to delve into the dark, tension-filled world of political intrigue. The film focuses on a young Donald Trump (Sebastian Stan) and his mentor Roy Cohn (Jeremy Strong), a ruthless and influential lawyer whose teachings shape Trump’s infamous playbook for success: attack relentlessly, deny all accusations, and never admit defeat.

Set against the backdrop of 1970s New York, the narrative explores Trump's rise from financial turmoil to prominence, emphasizing his morally ambiguous dealings and relationships. Key figures in his life, including his cold father (Martin Donovan), his first wife Ivana (Maria Bakalova), and his troubled brother Fred (Charlie Carrick), an airline pilot grappling with alcoholism and depression, add depth to the character study. 

The Apprentice is an ugly story with its quibbles and flaws, but I watched it with interest from start to finish. There are a few controversial scenes—it’s hard to determine how much of each is true and how much is false—but the personifications are remarkable, the pace is exciting, and the real ambition felt throughout is an aspect that intrigues. The film, elevated by its two lead actors and the compelling cinematography by Kasper Tuxen (Beginners, 2010; The Worst Person in the World, 2021), is a complex and scary portrait of a man whose thirst for power can have a major impact on our world.

Caught By the Tides (2024)

Direction: Jia Zhangke
Country: China 

Jia Zhangke’s Caught By The Tides unfolds as a bitter love story told through the director’s signature style. Although paced deliberately, the film reveals new layers with every frame, marked by Zhangke’s keen vision and unobtrusive camerawork, precise editing, and eclectic soundtrack. This culturally immersive drama was crafted from footage shot over 22 years, forming a docu-fiction tapestry that reflects China’s rapid transformations—emotional, social, political, and technological—in the 21st century. 

Zhangke often opts for silence, inviting the viewer into moments of quiet contemplation. The linear plot is punctuated by mesmerizing landscape shots that emphasize the uniqueness of each setting. At the heart of the film is Qiao Qiao (portrayed by Zhangke’s muse and wife, Zhao Tao), a model and club dancer from the northern city of Datong, who embarks on a journey to find her long-lost lover, Bin (Li Zhubin). He left in 2000 seeking better work opportunities, promising to send for her, but vanished without a trace. The couple eventually meets up again in 2006 in Fengjie, and in 2022 back in Datong, completing a 22-year narrative cycle. 

There’s an indestructible link between past, present, and future in the film that makes us experience time and place in a peculiar, nostalgic way. Zhangke’s filmmaking style is powerful and honest, and his ability to constantly surprise the viewer without resorting to the slightest artifice is remarkable. Emotion and melancholy intertwine in a fascinating yet heartbreaking story delivered with a mixture of modesty and sensitivity. 

Since the early 2000s, I've been captivated by Zhangke’s contemporary cinematic vision—films like Still Life (2006), A Touch of Sin (2013), and Mountains May Depart (2015) have left an indelible mark on me. I knew Caught By the Tides would not disappoint, as a raw emotional power permeates the entire film.

Daaaaaali! (2024)

Direction: Quentin Dupieux
Country: France

Daaaaaali! is a low-boil absurdist comedy written and directed by French auteur Quentin Dupieux, yet it falls short of the engaging flair seen in his previous films like Smoking Causes Coughing (2022) and Yannick (2023). The plot follows French journalist Judith Rochant (Anaïs Demoustier), who meets several times with the extremely self-absorbed Spanish painter Salvador Dali - portrayed here by five different actors—Gilles Lellouche, Édouard Baer, Jonathan Cohen, Pio Marmaï, and Didier Flamand. 

Dupieux’s narrative, with its fluctuating timelines and loosely woven structure, aims for surreal, absurdist satire but often misses the mark. Despite its vibrant eccentricities, the film struggles to deliver substantial humor or thematic coherence, resulting in a narrative that feels both superficial and exhaustingly repetitive. While there are sporadic laughs, the film bogs down in long stretches of banality and redundancies. Daaaaaali! is as fake and annoying as its title. The cast is great, the film is not.

Separated (2024)

Direction: Errol Morris
Country: USA 

After reading Separated: Inside an American Tragedy by journalist Jacob Soboroff, acclaimed documentarian Errol Morris (The Thin Blue Line, 1988; The Fog of War, 2003) was compelled to adapt it into a film. The documentary tackles the Trump administration’s ‘zero tolerance’ immigration policy that led to the traumatic separation of migrant parents and children. The resulting film is informative but not particularly engaging, blending interviews with an arguably unnecessary fictionalized depiction of a Guatemalan mother and son’s border crossing, played by Gabriela Cartol and Diego Armando Lara Lagunes.

Soboroff is featured in the film as well as former major figures at the Office of Refugee Resettlement, Cptn. Jonathan White and Scott Lloyd. White’s assertive critique contrasts starkly with Lloyd’s visible discomfort, underscoring the policy’s damaging impact. Due to extended media coverage, most of the details feel overly familiar, and yet it effectively captures the policy’s inhumane implications, serving as a sobering reminder of the need for accountability.

Separated is cleanly arrayed but feels somewhat timid as a terrifying wake-up call that makes us want a better America. Though not groundbreaking, this political documentary tells us we all need to demand more from our politicians, advocating for a more compassionate solution.

Woman of the Hour (2024)

Direction: Anna Kendrick
Country: USA 

Anna Kendrick steps into the director’s chair with confidence and purpose in her debut film, Woman of the Hour. Based on a screenplay by Ian McDonald, the film recounts the story of notorious serial killer Rodney Alcala, who eluded authorities for nearly a decade due to systemic negligence. Known as the “Dating Game Killer” after his appearance on the popular 1978 show, Alcala worked briefly as a typesetter at the Los Angeles Times while carrying out his gruesome murders.

In the film, Kendrick plays fictional character Sheryl Bradshaw, a struggling actress from Pennsylvania who encounters Alcala (Daniel Zovatto) on The Dating Game. Blending dark and satirical tones, Woman of the Hour reveals Alcala’s brutal acts across Los Angeles, Wyoming, New York, and San Gabriel, exposing the misogyny and systemic failures that allowed him to remain undetected.

Kendrick delivers an effectively unsettling film—directing without unnecessary embellishment, allowing the stark horror of the crimes to speak for itself. Zovatto brings a deeply unnerving intensity to Alcala, adding layers of dread each time he’s on screen. Though Woman of the Hour doesn’t delve deeply into Alcala's backstory, its straightforward approach and restrained style make it a chilling, sharply crafted thriller that lingers in the mind.

My Favourite Cake (2024)

Direction: Maryam Moghaddam, Behtash Sanaeeha
Country: Iran 

Iranian filmmakers Maryam Moghaddam and Behtash Sanaeeha bring us My Favourite Cake, a tragicomic romantic drama set in Tehran and starred by Lily Farhadpour and Esmail Mehrabi. Farhadpour portraits Mahin, a 70-year-old widow who, feeling stifled by loneliness and routine, decides to seek her personal freedom in a society closely monitored by the regime. Her journey brings her to Faramarz (Mehrabi), a divorced taxi driver and former soldier who mirrors her isolation. Their unexpected and spirited romance blossoms with ease; their dialogue feels natural, and their expressions of joy are vibrant. Love and optimism breathe new life into their world, casting their future in a hopeful light. But is there really a future for them? 

The basic plot is infused with immeasurable joy and overwhelming sadness in equal measures, relying on the warmth of its characters and beautifully crafted imagery that radiates light and life. Mahin and Faramarz quickly become endearing to the audience, their happiness infectious as their one-night connection grows more meaningful with every frame.

My Favourite Cake offers an enriching blend of heartfelt storytelling subtly woven with political undertones expressed through repressed emotions, ethical conflicts, and the constant vigilance of nosy regime loyalists. Awarded at the Berlinale, this film presents a stirring and genuine portrayal of romance later in life, a slice of life that resonates deeply. Unfortunately, the directors were unable to attend the festival to receive their awards, as Iranian authorities confiscated their passports and imposed travel bans.

The Seed of the Sacred Fig (2024)

Direction: Mohammad Rasoulof
Country: Iran

Iranian filmmaker Mohammad Rasoulof is renowned for his fearless critique of Iran's authoritarian regime and the oppression, injustice, and restrictions that haunt his homeland. His acclaimed films — The White Meadows (2009), Manuscripts Don’t Burn (2013), A Man of Integrity (2017), and the Golden Berlin Bear-winner There Is No Evil (2020) — have been deemed ‘propaganda against the system’, leading to his imprisonment twice before he ultimately fled to Germany. Rasoulof’s new film, The Seed of the Sacred Fig, an outstanding family drama and political thriller, follows in this brave tradition, winning both the Jury Special Prize and the FIPRESCI Award at Cannes. The idea for the story first came to Rasoulof while in jail, inspired by the Woman, Life, Freedom Movement in Iran.

The film, a tense closed-door family drama that surprisingly veers into paranoia-fueled thriller, was entirely shot in secret. With taut precision and anchored by riveting performances, this nearly three-hour epic keeps viewers on edge as it dissects both patriarchal and societal authoritarianism with sharp insight, highlighting the powerful struggle of young women and students for freedom. Rasoulof’s unflinching camera captures so well this clash between the parents' rigid conservatism and the children’s pragmatic visions for change. 

Offering content that is frightening on a deep and dark level, The Seed of the Sacred Fig packs an absolute cinematic punch that draws viewers into its mesmerizing spell of madness, obsession, and resistance.

Bookworm (2024)

Direction: Ant Timpson
Country: New Zealand

The lighthearted comedy Bookworm offers a delightful father-daughter adventure set against the lush wilderness of New Zealand. Directed by Ant Timpson with a screenplay by Toby Harvey, the film follows 11-year-old Mildred (Nell Fisher), a witty, sarcastic bookworm, and her estranged father Strawn Wise (Elijah Wood), a washed-up American illusionist who arrives to care for her after her mother is suddenly hospitalized. Together, they embark on a camping trip to track down the legendary Canterbury Panther. 

Set against scenic landscapes, Bookworm brings feel-good charm and beautiful visuals. While it could have leaned more into its quirky potential, and though some scenes feel slightly off and the finale a bit forced, the film maintains solid family-friendly appeal and leaves viewers with a warm sense of happiness. Surprisingly impish, it’s an adventure comedy with more good moments than missteps.

Beetlejuice Beetlejuice (2024)

Direction: Tim Burton
Country: USA

The much-vaunted return of Tim Burton, who rose to fame with films such as Edward Scissorhands (1990), Ed Wood (1994), and Sweeney Todd (2007), happens with Beetlejuice Beetlejuice, a visually inventive yet flawed sequel to his 1988 cult classic. Despite the 36-year gap, the original ‘80s vibe lingers in this formulaic work, whether you call it absurdist supernatural comedy or macabre dark fantasy or both. Michael Keaton returns, reprising his role as the trickster demon, as well as Winona Ryder as psychic Lydia Deetz, and Catherine O’Hara as her eccentric stepmother, Delia. The cast expands with Monica Belucci as a stitched-up, soul-sucking ghost, joined by Danny De Vito, Jenna Ortega, Willem Defoe, and Justin Theroux. Unlike the others, the latter two had never worked with the director before.

While packed with Burton’s trademark surrealism, the plot — scripted by Alfred Gough and Miles Millar — feels chaotic, marked by frantic pacing, loose subplots, and forgettable villains. The film tries to balance nostalgia for long-time fans with attempts to win over a new generation but often feels like a haphazard spectacle. Despite its energetic antics and quirky visuals, Beetlejuice Beetlejuice lacks the cohesion needed to truly captivate, leaving audiences dizzy yet unsatisfied. When the credits roll, you may feel you’ve spent 104 minutes in a world of Burton-esque antics, but without much of a payoff.

Afloat (2024)

Direction: Aslihan Unaldi
Country: Turkey 

This well-crafted drama written and directed by debutant Aslihan Unaldi has its flaws but remains engaging. An intimate, unsettling look at Turkey's bourgeoisie, the film explores family dynamics with a script that provides just enough clarity to hold the viewer's interest.

The story centers on New York-based Zaynep (Nihan Aker), an aspiring documentarian, who arrives in a small coastal Turkish town to spend some family time with her divorced parents (Lila Gürmen and Serhat Ünaldi) and younger sister (Elit Iscan). She brings her protective American husband, Stephen (Oscar Pearce), with her. The confined spaces and limited privacy on the boat play a role here, enhancing tensions in a low-key chamber piece that, never really boiling, generates a subtle intrigue. 

The film seems compassionate to, and appreciative of, the people it chronicles, showing a somewhat vague if curious political side that characterizes contemporary Turkey. Much of the action unfolds naturally, steering clear of the melodrama that often dominates family narratives. Unaldi’s unobtrusive filmmaking style shows promise, and the female cast members deliver particularly compelling performances.

Lee (2024)

Direction: Ellen Kuras
Country: USA

This biographical drama about Vogue model turned war photographer Lee Miller falls into the traps of flashback-heavy storytelling that fails to fully capture the intensity of a life shaped by the adrenaline of war. Starring Kate Winslet, who championed the project and handpicked director Ellen Kuras along with the rest of the cast, the film delivers a conventional narrative that lacks the rhythm and inspiration needed to depict Miller's struggles as a daring photographer fighting for validation in a male-dominated world.

This well-intentioned but toothless biopic feels academic; its staging remains cold and distant when it should pulse with emotion. The scenes follow one another mechanically, and even the final twist fails to lift the film from its overarching sense of banality. Lee Miller, a fascinating figure, deserved a more compelling tribute, as this portrayal of her life does little beyond the bare minimum. Sadly, Lee feels inexplicably stiff.

Joker: Folie a Deux (2024)

Direction: Todd Phillips
Country: USA 

Five years after the remarkable Joker, its sequel, Folie à Deux, feels more like a crowd-pleasing cabaret show than a gripping psychological thriller. Directed once again by Todd Phillips and starring Joaquin Phoenix, the film fails to capture even half the impact of its predecessor. While attempting to juggle multiple genres—a courtroom drama, a depressive musical, a twisted love story, and a social satire—it ultimately collapses under the weight of its own ambitions. 

Lady Gaga co-stars as the manipulative Lee, also known as Harley Quinn, singing mediocrely throughout and showing little to no chemistry with Phoenix. Their bizarre romance lacks the emotional depth needed to sustain the story, and the film looks too self-absorbed in showing the viewers how quirky and moving it thinks it really is. Meaningless and unnecessarily long, Folie a Deux is less and less appealing as it lurched toward the end. If you’re expecting chills or thrills, you'll be disappointed. The inclusion of jazz standards disrupts any potential for the sinister, unsettling atmosphere one might expect from a film centered on iconic supervillains.

Despite these shortcomings, Phoenix always fascinates, though even his brilliance can’t salvage the awkward plot. The film never fully draws you in, but for fans of Phoenix, his performance may be the only saving grace in an otherwise lackluster sequel.

Dying (2024)

Direction: Matthias Glasner
Country: Germany

Matthias Glasner’s semi-autobiographical drama, Dying offers a grim portrayal of a fractured family grappling with illness, estrangement, and emotional baggage. The film, rigorous in its execution and often shocking in its emotional rawness, centers on a severely ill elderly couple (Corinna Harfouch and Hans-Uwe Bauer) before shifting its focus to their two adult children: Tom (Lars Eidinger), a proud conductor in Berlin, and Ellen (Lilith Stangenberg), a troubled dental assistant battling alcoholism, are both too consumed by their own lives and unresolved traumas to care for their dying parents. 

Structured in five immersive chapters, the picture doesn’t have the advantage of brevity but is never boring. Carrying a great deal of coldness and pain, slightly eased by occasional black humor, the film strikes a jarring chord in family relationships, showcasing a tough reality where love cannot be felt or demonstrated. 

Bathed in vitriol, Dying alternates excellent scenes with other less successful—where incautious manipulation exists—becoming the sort of drama that one admires more than one enjoys. It ultimately finds its tone, managing to keep the viewer in suspense and with a fascination for understanding the inner conflicts of these characters. Clearly influenced by Michael Haneke, Ruben Ostlund, and Ulrich Seidl, Glasner is committed to keeping every moment grounded in truth, resulting in a satisfactory payoff.

Wolfs (2024)

Direction: Jon Watts
Country: USA

Inspired by his admiration for solitary anti-heroes in films such as Le Samourai (1967), Ghost Dog (1999), and Collateral (2004), director Jon Watts sets up a New York crime story in Wolfs, but most of it feels worn-out and lackluster. This film reunites Brad Pitt and George Clooney, who portray experienced crime scene cleaners having extreme difficulties teaming up as requested by their clients. 

The film’s intriguing opening is engaging but it quickly unravels, descending into shallow banter, self-mockery (mostly revolving around aging), and formulaic action scenes toward oblivion. Though it initially seems to channel Coen Brothers’ dark, quirky tone, it takes a wrong turn, injecting syrupy moments that come off as laughably ridiculous and will likely irritate genre fans.

Wolfs is clumsy, overly formulaic, and incompetently lazy, following a banal, unoriginal plot weighed down by cheesy dialogue and underbaked story elements. Lacking any type of genius, it’s a waste of talent and energy on all levels.

Megalopolis (2024)

Direction: Francis Ford Coppola
Country: USA 

After more than 40 years in development, Francis Ford Coppola finally unveils Megalopolis, an ambitious sci-fi epic he largely financed himself. The idea for this eccentric, dense film came to Coppola during the making of Apocalypse Now, raising high expectations. However, despite its long gestation, Megalopolis unfolds as a bloated soap-opera-like spectacle that struggles under the weight of its convoluted themes and sprawling subjects.

The story follows Cesar Catilina (Adam Driver), a brilliant yet enigmatic visionary with a controversial past and the ability to stop time. His grand ambition is to construct a utopian “city of the future” in New Rome. However, his dream faces fierce opposition from the city’s conservative mayor, Franklyn Cicero (Giancarlo Esposito), while he finds both love and support in Cicero’s daughter, Julia (Nathalie Emmanuel), a medical school dropout.

Though the film nods to cinematic classics like Brazil (1985), Metropolis (1927), and Dark City (1998), it feels soulless. Despite the weighty themes of political struggle, futuristic utopia, and satirical pop culture, the film feels surprisingly naive, a grab bag of ancient sci-fi ideas and plastic performances that fail to provoke. Copolla dedicated the film to his late wife but Megalopolis is already seen as the greatest disappointment of the year.

Between the Temples (2024)

Direction: Nathan Silver
Country: USA

Directed and co-written by Nathan Silver, the comedy-drama Between the Temples strives to be quirky and offbeat, but ultimately misses the mark. Starring Jason Schwartzman and Carol Kane, the film is staged with a bunch of embarrassments that feel more flat than profound. 

The story revolves around Benjamin Gottlieb (Schwartzman), a 40-year-old kosher cantor struggling to cope with the death of his wife. He finds a glimmer of hope in Carla Kessler (Kane), his former music teacher, whom he agrees to help prepare for a late-in-life bat mitzvah. 

While the premise holds promise, the execution falters. The film never finds its rhythm, frequently losing momentum just when it should be gaining traction. Lacking the wit and style it aspires to, Between the Temples tries to inject energy into situations that implode under the weight of its own excessive pressure. 

Despite satisfactory performances from Schwartzman and Kane, the result is disappointingly televisual, culminating in a bewildering climax, full of emotional swings, that is the opposite of a knockoff. Not much in the material stimulates, and the film, sloppily rendered and off-punttingly screwy, doesn’t leave an impression.

Daddio (2024)

Direction: Christy Hall
Country: USA

Christy Hall's feature debut, Daddio, is a lackluster two-character drama that desperately seeks attention but fails to capture any. Set during a long cab ride from JFK airport to midtown Manhattan, the film—originally conceived as a stage play—stars Sean Penn as a chatty, self-important cab driver and Dakota Johnson as his passenger, a seemingly confident yet emotionally fragile woman returning to New York after visiting her estranged half-sister in Oklahoma. 

Visually dull and conversationally uninspired, Daddio lacks depth, maturity, and emotional resonance. The dialogue, filled with shallow confessions, unearned conclusions, and awkward laughs, does little to develop the characters beyond superficial traits. Penn's occasional watery eyes never feel authentic, and it's hard to believe Johnson's forced nonchalance and sudden curiosity about a stranger who seems to read and understand her. 

At its core, Daddio is void of any spark or substance. The film trudges along without ever offering anything fresh or meaningful, leaving the audience to wonder: why should we care? It feels like watching paint dry—only less captivating. 

The Substance (2024)

Direction: Coralie Fargeat
Country: USA

Coralie Fargeat’s sophomore feature, The Substance, is set to be hailed as the shock film of the year. A grotesque blend of body horror with sharp satirical overtones, it escalates in bizarre intensity until it reaches the brink of madness.

The film stars Demi Moore as Elisabeth Sparkle, an aging TV star who injects a miraculous substance designed to unlock her DNA, creating a younger, more beautiful version of herself. That version is played with mischievous charm by Margaret Qualley. However, Sparkle fails to adhere to the crucial condition—switch bodies every seven days—and struggles to comprehend the delicate balance needed for both versions to coexist.

The pumped up narrative swirls us up in this woman's obsession, invoking the transgressive and visceral visual traits reminiscent of David Cronenberg and John Carpenter. At its best, the film maintains a tense and unnerving atmosphere, but just as it has you on the edge of your seat, it spirals into gratuitous violence and excessive gore.

Fargeat's creation is undeniably horrific, but she pushes it too far, especially in the final act. The relentless gore feels less like a narrative necessity and more like a transgressive indulgence, ultimately undermining the careful creepiness that initially made it gripping. The last section is so filthy and exaggerated that it risks alienating viewers, leaving one to wonder why the director chose to tarnish what could have been a chillingly effective film.

The Substance is nauseating but undeniably powerful, shocking yet audacious. It’s an outrageously bloodthirsty dark fantasy that demands a strong stomach. Had Fargeat reined in the excess, it could have been a standout horror. Nevertheless, both Moore and Qualley deliver striking performances.