Small Things Like These (2024)

Direction: Tim Mielants
Country: Ireland / Belgium

Based on Claire Keegan’s best-selling novel, Small Things Like These is a poignant Irish film directed by Belgian filmmaker Tim Mielants (Patrick, 2019), with a screenplay by Enda Walsh, co-writer of Hunger (2008) alongside Steve McQueen. The film stars Cillian Murphy as Bill Furlong, a quiet and diligent coal merchant who uncovers a harrowing secret within his small town’s convent. The mother superior, Sister Mary (Emily Watson), attempts to buy his silence with Christmas gifts, but Bill remains haunted by what he witnesses during his deliveries. As the story unfolds, he confronts unsettling truths about his own past.

The film’s naturalistic treatment—marked by nuanced performances and understated direction—heightens the realism of a story that is quietly profound in its simplicity and austerity. While it lacks a traditional climax and occasionally struggles with languid pacing, the narrative resonates deeply as a restrained yet powerful exploration of Catholic institutional abuses. Unlike more sensationalist approaches, the film opts for a steady, somber tone, subtly gesturing toward the hope of change.

Mielants crafts a sincere, lugubrious historical drama suffused with disenchantment and anguish. It stands as a deeply humanistic work, highlighting the imperative of rescuing young victims from the cruelty of unsupervised religious institutions. However, the film occasionally stumbles upon its understated ambitions, with moments of narrative ennui and a tendency to leave its emotional potential underexplored.

I was touched in the end, but never got hooked during the narrative process. I wanted to feel more, I guess. Yet, the ones who stay with the film may find a quiet reward in its understated power.

Memoir of a Snail (2024)

Direction: Adam Elliot
Country: Australia

Memoir of a Snail, a darkly humorous stop-motion animation loosely inspired by director Adam Elliot’s own life, chronicles the trials and tribulations of lonely Australian misfit Grace Pudel, from childhood to adulthood.

Grace is a hoarder, an obsessive snail collector, and kleptomaniac born prematurely. She narrates her poignant story to Sylvia, her favorite snail, now set free for good. Through her reflections, we learn about her transformative friendship with Pinky—a liberal octogenarian who taught her to see life differently and embrace hope over despair—her strong bond with her twin brother Gilbert, and her complex relationship with her secretive repairman husband, Ken.

Sadness permeates Grace's journey, layering despair upon despair, yet the film offers a final glimmer of hope. Despite its melancholic undertones, Memoir of a Snail stands out as a beautifully crafted tragicomedy for adults, consistently daring in its intellectual and emotional exploration. The story's distinctive tone and bittersweet idiosyncrasies highlight themes of loss, loneliness, and resilience. 

As animated work, it is visually flawless, and as a drama, it achieves an emotional depth that surpasses many live-action films this year. It offers a mature, therapeutic, and unsentimental examination of a singular life, where every element integrates seamlessly. For all its intentionally bizarre qualities, the film retains a dark humor and sharp visual wit, blending hope and heartbreak with devastating emotional impact.

Anora (2024)

Direction: Sean Baker
Country: USA 

With his bittersweet worldview and keen sense of the ridiculous, Sean Baker (Tangerine, 2015; The Florida Project, 2017) delivers a jubilant if cruel indie comedy with Anora, his eighth feature film. A romantic tragicomedy that defies standard conventions, the film centers on Ani (Mikey Madison), a 23-year-old sex worker in New York whose life takes an unexpected turn when she marries Ivan Zhakharov (Mark Eydelshteyn), the spoiled son of a Russian oligarch.

This zany nuptial odyssey masterfully balances hysterical and heartfelt tones, weaving together themes of love, fury, laughter, and tears. Baker crafts anarchic, tension-filled situations that satirize unchecked capitalism and immature love, prompting reflection on two disparate souls seemingly escaping their respective prisons. The open-ended staging challenges its actors, who excel amidst the chaos, as the narrative seamlessly shifts between humor and heartache. The result is a dazzlingly paced love story driven by the electric chemistry between Madison and Eydelshteyn. 

Baker’s risk-taking approach and compelling writing are rewarded with neat images, a frenetic pace, and outstanding performances. The director films more statically than ever before, unafraid to take some time on certain scenes to make his social satire closer to reality. Despite its measured approach, monotony never creeps in, as Anora thrives on its originality and compelling characters who continuously evolve. 

With youthful ardor, audacious storytelling, and interpretive depth, the Palme D’Or winner Anora reaffirms Baker as a standout voice in American independent cinema. It’s a thought-provoking, wildly entertaining work that leaves a lasting impression.

Maria (2024)

Direction: Pablo Larraín
Country: USA / Italy / Germany

With Maria, which depicts the final week in the life of legendary American-born Greek opera singer Maria Callas, Chilean director Pablo Larraín completes his trilogy of biopics spotlighting women who shaped the 20th century. Following Jackie (2016), where Natalie Portman portrayed Jackie Onassis, and Spencer (2021), starring Kristen Stewart as Lady Diana, this film casts Angelina Jolie in a surprising and transformative performance as Callas. Jolie not only embodies the role with grace but also lends her voice to the singing. However, despite its poignancy, the screenplay— penned by Steven Knight (Dirty Pretty Things, 2002; Eastern Promises, 2007)—falters in delivering emotional resonance in pivotal moments. 

At 53, Maria lives in Paris, haunted by a traumatic childhood in Athens and the realization that her voice, once unparalleled, has faltered. Alternating between reality and imagination, she leans on her devoted butler Ferruccio (Pierfrancesco Favino) and housemaid Bruna (Alba Rohrwacher) for support. Flashbacks, rendered in stark black-and-white, vividly illustrate her turbulent teenage years and her fraught relationship with the charismatic but domineering Aristotle Onassis (Haluk Bilginer).

Filmed with grandeur and sophistication, Maria eschews melodramatic artifice but probably could've benefited from a little more energy in its telling. While polished and coherent, the drama feels predictably prepackaged. Larraín and Jolie keep the picture moving, yet struggling to showcase how the diva’s trauma and health decline affected her final artistic aspirations. 

The period details are meticulously crafted, and Ed Lachman’s cinematography is nothing short of stunning, but the staging constantly oscillates between elegant mannerism and calibrated realism. Maria is dispensable, and only Jolie’s masterful performance can make it a worthwhile watch for admirers of the actress and the opera icon alike.

Gladiator II (2024)

Direction: Ridley Scott
Country: USA 

Ridley Scott cements his reputation as a master of epic cinema with Gladiator II, an arguably unnecessary but undeniably entertaining action spectacle that revels in physical clashes and dramatic intensity. Written by David Scarpa, this sequel introduces Paul Mescal as Lucius Verus Aurelius, the son of Maximus (played by Russell Crowe in the original).

Fifteen years after Maximus’ death, Lucius returns to a corrupt Rome after the Roman army's brutal campaign in Numidia, North Africa. Haunted by the murder of his wife, he vows vengeance, reconnects with his mother, Lucilla (Connie Nielsen), and finds himself under the tutelage of Macrinus (Denzel Washington), a former slave with ambitions to rule Rome. 

While it breaks no new ground narratively, this colossal production builds momentum as it unfolds, eventually drawing viewers into its dramatic core. It is a visceral, blood-soaked exploration of power, war, revenge, and emancipation, holding the audience captive with its steamy visuals and audacious premise. The fight sequences erupt with the force of a volcano, and Scott elicits compelling performances from his cast. 

Despite its shortcomings, Gladiator II delivers a full-bodied adventure that skillfully balances responsiveness to its audience’s expectations with a reverence for the epic grandeur of its predecessor.

Black Dog (2024)

Direction: Guan Hu
Country: China

Co-written by versatile Chinese director Guan Hu (Cow, 2009; Mr. Six, 2015), Black Dog is a remarkable and deeply moving drama brimming with soulful and tender moments. Set in a transforming town on the edge of the Gobi Desert in Northwest China, the story follows Lang (Eddie Peng), a former stunt motorcyclist and rock band member who returns to his hometown after being released from prison. Alienated in a world rife with cruelty, Lang finds solace and renewed hope in a wild black dog with a bounty on its head. Along the way, he confronts old enemies, visits his dying alcoholic father, and forms a special bond with a belly dancer employed by a new circus in town.

Hu’s masterfully crafted drama showcases mesmerizing camerawork, with the lens trailing and circling characters intimately, creating an immersive visual experience. The steady pacing allows the emotional weight of the story to unfold organically, while the stunning performances breathe life into the characters. The film’s aesthetic excellence is further elevated by Pink Floyd’s evocative songs, which add depth and resonance to the narrative. With meticulous attention to the intricacies of everyday life, Black Dog shatters the illusion of emptiness, drawing viewers into its rich, observational storytelling.

Defined by Guan Hu’s distinct directorial vision, Black Dog stands as his finest work to date. This profoundly affecting tale of reintegration, loneliness, and human resilience is both a bold sociopolitical critique and an intimate exploration of personal struggles. The film leaves a lasting impression, inviting viewers to reflect long after the credits roll. With a brief but notable cameo by acclaimed director Jia Zhangke, Black Dog is a testament to the resurgence of Chinese cinema on the global stage.

Wicked (2024)

Direction: Jon M. Chu
Country: USA 

Jon M. Chu (Crazy Rich Asians, 2018; In The Heights, 2021) delivers a competent adaptation of the renowned Broadway musical Wicked, inspired by the world of The Wizard of Oz. This is the first installment of a two-part adaptation, written by Winnie Holzman and Dana Fox (Cruella, 2021). 

Selling every scene they’re in, Cynthia Erivo and Ariana Grande form an amazing duo as Elphaba and Galinda, respectively. The former character was born green with special psychic powers but was rejected by her father, eventually becoming the Wicked Witch of the West after her sorcery tutor, Madame Morrible (Michelle Yeoh), arranges a fateful meeting with the Wizard of Oz (Jeff Goldblum). In contrast, Galinda is an irritating, self-absorbed, glamorous blonde steeped in vanity and artificiality. Despite their differences—spoiled versus neglected, vain versus humble—the two women form a meaningful friendship and even fall for the same man. 

Chu stays true to the spirit of the musical, amplifying its socio-political themes. The story’s messages of inclusion, acceptance of differences, resistance against oppression, and opposition to animal cruelty resonate powerfully. Despite technically sumptuous, Wicked doesn’t always 'defy gravity’, with some musical numbers feeling overly prolonged. Nevertheless, the film offers solid entertainment, blending the whimsy of Harry Potter with the flair of Barbie. It transports viewers into a vibrant, magical world that balances humor and poignancy with bursts of energy. 

As a mass-market confection, Wicked certainly works well enough, though its greatest strengths lie in its opulent production design and sharp humor rather than its narrative depth.

The Count of Monte Cristo (2024)

Direction: Matthieu Delaporte, Alexandre de La Patellière
Country: France 

For their third feature film, French filmmakers and screenwriters Matthieu Delaporte and Alexandre de La Patellière take on Alexandre Dumas’ classic The Count of Monte Cristo, a sweeping tale of love, tragedy, and revenge.

With its meticulous period details, lush settings, and an old-fashioned approach to storytelling, this grand production delivers visual flair but falls short in generating excitement, suffering from a lack of surprises. While this tame, three-hour adaptation replaces some characters and unfolds with formal, somewhat academic staging, it nonetheless secured a strong position at the French box office.

Pierre Niney (Frantz, 2016; Yves Saint Laurent, 2014) is appropriately earnest as Edmond Dantès. Wrongfully imprisoned and later escaping from a remote island prison, Dantès orchestrates a calculated revenge against the three men—Danglars, Gérard de Villefort, and Fernand de Morcerf—who destroyed his life. 

It’s a constant battle between polished images and undramatic sequences that could be better matured. Still, there's still something to ponder about the vengeful Count tale that's worth pondering. If nothing else, this adaptation serves as a nostalgic reminder that, on occasion, they still make movies like they used to.

My Old Ass (2024)

Direction: Megan Park
Country: Canada

Megan Park’s sophomore directorial feature, My Old Ass, is a refreshingly spontaneous coming-of-age comedy that captures the vibrant, messy tapestry of teenage life with authenticity and warmth. At the heart of the film is a breakout performance by Canadian singer and actress Maisy Stella, making her feature film debut after her time on the musical television series Nashville.

Stella is Elliott, an 18-year-old who, during the course of a mushrooms trip, has contact with her 39-year-old self (Aubrey Plaza). What begins as a quirky exchange of life advice quickly becomes a heartfelt exploration of self-discovery, as Elliott grapples with the rebelliousness of youth and the unpredictable outcomes of love. 

Sweet but not cheesy, the film stands out for its originality and relatable charm. While it may not reinvent the teen rom-com genre, it handles themes like sexual orientation with a light, natural touch, brimming with hopefulness, self-discovery, and a sense of wonder about life and love.

Park, who impressed audiences with The Fallout in 2021, opts for simplicity, focusing on genuine human connection. This approach succeeds largely due to the chemistry of her leads, with Stella’s Elliott beautifully complemented by Percy Hynes White’s performance. My Old Ass is a gutsy and endearing ode to youth, a well-crafted tale of living life to its fullest and confronting the inevitable fear of loss. It’s an enjoyable, life-affirming watch that will leave you smiling, even if its charm is more fleeting than indelible.

The Second Act (2024)

Direction: Quentin Dupieux
Country: France

The comedic style of prolific French director Quentin Dupieux can often oscillate between the amusingly absurd and the frustratingly inconsequential. While Daaaaaali! (2023) fell short of convincing, The Second Act emerges as a surprising, satirical triumph. With its playful mise en abyme and elaborate form, the film delves into the world of cinema, where actors revolt against a script they deem mediocre. To make everything more insane, they are being directed by artificial intelligence, which also wrote the script.

The stellar and assured cast—Léa Seydoux, Vincent Lindon, Louis Garrel, Raphaël Quenard, and Manuel Guillot—are in complete control, and the story gains perspective and weight in their capable hands. The real fun of the film lies in its blurring of boundaries between representation and reality, leaving viewers guessing as the layers of fiction intertwine and collapse. Even lacking full dramatic meaning, it sneaks up on you. Yet, you should doubt everything you see and hear. 

Unapologetically, Dupieux skewers the egos and absurdities of the film industry, tackling issues such as homophobia, technology's encroachment on creativity, and the tension of strained relationships—all with his trademark irreverent humor. The Second Act demands to be seen, preferably with an audience that doesn't know what it's in for. It’s the kind of cool and kooky narrative that leaves you walking out of the theater feeling like you've seen something special, even if you can't quite figure out what that ‘special’ was. 

The film owes everything to its gifted actors coping with the provocative ideas of a script that becomes a therapeutic trust exercise of their own. This ferocious, dichotomous masquerade is never boring.

His Three Daughters (2024)

Direction: Azazel Jacobs
Country: USA 

His Three Daughters, the seventh feature by Azazel Jacobs (The Lovers, 2017; French Exit, 2020), is a skillfully crafted chamber drama with richly drawn characters and a credible story. Set in a New York apartment, the film revolves around three estranged daughters who gather at their dying father’s home, bracing for his imminent passing. 

Rachel (Natasha Lyonne) is a heavy weed smoker who has been living with their father and apparently seems disconnected of everything and everyone. Katie (Carrie Coon), in stark contrast, is rigid, irritable, and excessively controlling. Christina (Elizabeth Olsen), the most conciliatory of the three, is more emotional and never complains about life. Little by little, we learn their cracks, their feelings, and certain aspects of their relationships that allow us to have a nuanced perspective on their shared history and personal struggles. These revelations build toward a restrained yet poignant finale.

While the story is undeniably familiar, Jacobs transforms it into a deeply absorbing experience, imbuing the film with both soul and bitterness. All three leads do quality work in a 100-minute showcase of talent, portraying complex and worth meeting characters.

Death becomes one of the tragic figures in this scenario, and there’s something in the creative spark behind Jacobs’ vision that sets it apart. His look at sisterhood isn’t intended to be perfect, opting instead for an honest portrayal of clashing personalities and the ways they soften in the face of shared grief. Although you won’t find anything unexpected here, a naturalistic tone is maintained throughout, which crackles with an emotional energy and cackles with a repentant laughter.

Blitz (2024)

Direction: Steve McQueen
Country: UK / USA

British filmmaker Steve McQueen, celebrated for his unflinching dramas like Hunger (2008), Shame (2011), and the Oscar-winning 12 Years a Slave (2013), returns with Blitz, a wobbly wartime drama that tackles themes of racism, loss, and survival. Written by McQueen, this fictional story anchored in a brutal historical reality, is set during WWII in London, a city under relentless bombing by German forces. The protagonist is George (Elliott Heffernan), a mixed-race boy sent to the countryside by his mother Rita (Saoirse Ronan), in a desperate effort to keep him safe amidst the chaos.

McQueen's direction is distinguished by formal rigor and precise realism, but his film is less impactful than usual. Although effectively capturing the horrors of war and the anguish of separation, the film’s not completely free of academicism, its success hampered by an uneven intensity. It’s too manufactured for my taste, with a few scenes depicted in an excessively casual way to ring true. 

Despite a neat visual aesthetic marked by glossy frames of war destruction, the film gets lost in the multiplicity of its ambitions and tangled in conventional triteness and sentimentality. Blitz feels weighed down by its own limitations. In general, it doesn't transcend, and viewers may feel a little icky about the experience. 

A Different Man (2024)

Direction: Aaron Schimberg
Country: USA

A Different Man is a bold and provocative tragicomic fable that takes flight with its offbeat details and quirky, unexpected situations. Written and directed by Aaron Schimberg (Chained For Life, 2019), this darkly twisted story follows Edward Lemuel (Sebastian Stan), a reserved man whose life takes a dramatic turn after undergoing major facial reconstructive surgery to treat neurofibromatosis—a rare genetic condition that causes tumors and malformations. Emerging with a new identity as Guy Moratz, Edward starts working as an actor with his playwright neighbor Ingrid (Renate Reinsve), who is staging an off-Broadway play about his former life. Yet, his fresh start takes a sinister turn when he becomes fixated on Oswald (Adam Pearson), an actor with neurofibromatosis cast to portray the old Edward. 

The film’s offbeat jazz soundtrack gives this satire an awesome ambiance, making it undeniably fun and bonkers in ways that only weird movies can be. Schimberg’s confident direction balances whimsy with profundity, crafting a small symphony of enchanting disharmony that occasionally flirts with implausibility but never loses its edge. Through its blend of humor and pathos, the film explores themes of ego, ambition, affirmation, and unrequited love, offering a thoughtful meditation on the power and perils of transformation. 

Imaginative, subtly disconcerting, and solidly performed, A Different Man infuses a dry sense of humor while packing a cathartic emotional punch throughout. It won’t leave you indifferent.

Emilia Perez (2024)

Direction: Jacques Audiard
Country: France

Jacques Audiard’s tenth feature film, Emilia Perez, is a flamboyant Mexican extravaganza filmed in Paris. Originally envisioned as an opera, the film is a messy fusion of musical comedy, drama, and thriller, marked by its shifting tones. By turns delicate and brutal, the story channels the flair of Pedro Almodovar and Baz Luhrman, introducing gender issues, the role of women in modern society, and the dangerous world of Mexican cartels. It’s a risky and irreverent departure from Audiard’s usual style, seen in acclaimed works such as A Prophet (2009), Rust and Bone (2012), and Dheepan (2015). 

Sometimes inspiring, sometimes bordering on the ridiculous, other times sordidly melodramatic, the film follows Rita Mora Castro (Zoe Saldaña), a skilled lawyer grappling with professional dissatisfaction and moral conflict. Her dreams of a rising legal career are stifled by a firm more invested in laundering criminals' reputations than pursuing justice. However, she receives an unusual and lucrative proposition by Manitas Del Monte (Karla Sofía Gascón), a notorious cartel kingpin seeking to transform his life. With Rita’s help, Manitas transitions into Emilia Perez, embarking on a mission to incarcerate cartel leaders, locate the bodies of their victims, and reconnect with the family Emilia left behind. 

Emilia Perez is a cocktail of contrasting flavors, blending vibrant extravagance with somber undertones. The result leaves an odd taste in the mouth. While the premise is compelling, its execution feels uneven. The film occasionally soars with its bold storytelling but stumbles when leaning too heavily on its musical elements. Even the most lavish dance numbers come across as either forced or flat. 

Despite these flaws, there are redeeming qualities. Saldaña delivers a sensational performance, bringing depth and nuance to Rita, while Audiard’s ambition and willingness to take creative risks deserve recognition. Still, the film struggles to work as a whole, and I can’t say I found it exciting.

The Damned (2024)

Direction: Roberto Minervini
Country: USA / Italy / Belgium

Roberto Minervini’s The Damned is a stark and minimalist war drama that eschews grandiose battle scenes in favor of an intimate focus on individuals caught in the relentless grip of the American Civil War. Set during the brutal winter of 1862, the film follows a group of Union volunteers tasked with patrolling the uncharted Western Territories. The soldiers must navigate treacherous, snow-covered landscapes and endure the punishing cold, all while grappling with existential reflections on faith, patriotism, family, and survival. 

Even if the film offers some intriguing meditations on its weighty themes, the narrative feels overly pared down, delivering little in the way of tension or excitement. Minervini’s restrained direction keeps viewers at a frustrating emotional distance, making it difficult to connect with or fully invest in the characters. The most striking thing about The Damned is how ordinary it is, feeling like a moody vignette rather than a fully realized story. Unfortunately, it doesn’t come with sufficient layers to suss out.

Conclave (2024)

Direction: Edward Berger
Country: UK / USA

From Andrew Berger, the German director behind the multi-award-winning anti-war epic All Quiet on the Western Front (2022), Andrew Berger, comes the more subdued Conclave. This religion-themed thriller, penned by Peter Straughan and based on Robert Harris’ 2016 novel, delves into the shadowy world of Vatican politics. Ralph Fiennes takes the lead as Cardinal-Dean Thomas Lawrence, a man grappling with a personal crisis of faith while tasked with overseeing the papal conclave following the pope's sudden death.

As the slow and ritualistic process of selecting the new leader of the Catholic Church unfolds, Lawrence encounters a web of secrets, conspiracies, prejudice, and ambition. Among the candidates vying for the position, one figure stands out: Vincent Benitez (Carlos Diehz), a little-known Mexican archbishop stationed in Kabul, whose presence stirs unease and curiosity among the cardinals.

Cocooned in gravitas and profound doubt, Conclave thrives on the nuanced performances of its  seasoned cast. Fiennes, for example, not only chews the scenery but savors it, as he expresses deep concern about the future of the church with Stanley Tucci and Isabella Rossellini offering strong supporting turns. 

Although not particularly groundbreaking in its clash of modernity and tradition within the Church, the film at least never commits the deadliest sin in cinema: boredom, providing enough good material to keep its iniquitous fires burning. Yet, this gun-free thriller—effectively blending faith, tradition, and politics—could have been even more gripping if infused with more scandal, intrigue, and mystery. Ultimately, your enjoyment of Conclave may depend on your perspective on its themes.

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.