28 Years Later (2025)

Direction: Danny Boyle
Country: UK 

If you’re into post-apocalyptic chaos, then 28 Years Later may be a visceral treat for you. Director Danny Boyle (Trainspotting, 1996; 28 Days Later, 2002; Slumdog Millionaire, 2008) and screenwriter Alex Garland (Ex-Machina, 2014; Civil War, 2024) reunite for the conclusion of a trilogy—and the launch of a new one. Several sequences were shot on the iPhone 15 Pro Max, with Anthony Dod Mantle’s stunning cinematography playing a crucial role in the film’s visual magnetism.

A community of survivors has taken refuge on a small island, accessible to the mainland only via a treacherous road. Twelve-year-old Spike (Alfie Williams) ventures to the mainland for the first time with his father, Jamie (Aaron Taylor-Johnson), to learn how to kill the infected and survive on his own. Along the way, he discovers the existence of Dr. Kelson (Ralph Fiennes), the only person who may be able to save his ailing mother (Jodie Comer).

Delivered with breathless pacing and indomitable energy, 28 Years Later veers from rage to reflection without ever slipping into monotony. The infected fade into the background, with the story focusing more intently on the emotional complexities of family and the fragile relationships among the uninfected. This made me want to go along unquestioningly. Vicious yet full of heart and humanity, the film ultimately becomes a celebration of life.

Boyle approaches the material with offbeat flair, making this installment tonally distinct from its predecessors. If you’re going to revisit a dusty premise, you’d better be inventive—and both Boyle and Garland rise to the challenge. The result is a bloody, wildly entertaining odyssey brimming with risks and perils. Nia DaCosta (Little Woods, 2018; Candyman, 2021) is set to direct 28 Years Later: The Bone Temple, scheduled for release in January 2026.

Materialists (2025)

Direction: Celine Song
Country: USA

Materialists, the sophomore feature from Canadian helmer Celine Song, is a romantic excursion where love can be negotiated like a business deal. Not as irresistible as Song’s debut Past Lives (2023) and perhaps a bit too safe in its proceedings, Materialists is nonetheless rich in, character, dilemmas, and conflicts that spark debate about life’s priorities. Its message feels particularly timely.

The plot centers on Lucy (Dakota Johnson), a young, charming, and successful New York matchmaker who finds herself entangled in a love triangle. A serious incident involving one of her elite clients deeply affects her, forcing a drastic shift in her life. Her suitors, Harry (Pedro Pascal) and John (Chris Evans), represent two opposing paths—wealth and comfort versus love and sacrifice.

Shot in 35mm, Materialists may lose some momentum toward the ending, but remains a finely crafted piece well worth seeking out. We’ve seen films like this before, but rarely have they looked or felt quite like this. Song, a thoughtful filmmaker with meaningful insights on relationships—past and present—ticks off every box on the film’s agenda and wraps it up with a big smile. This is not a backward step for the director, who portrays a transactional dating ecosystem with both realism and cleverness.

The Phoenician Scheme (2025)

Direction: Wes Anderson
Country: USA

In his latest feature, The Phoenician Scheme, Wes Anderson takes aim at capitalism without morals, blending slapstick and absurdism in a live-action espionage comedy suffused with sumptuous visuals and imaginative scenarios marked by his signature symmetry. Co-written with Roman Copolla and dedicated to his father-in-law, Lebanese businessman Faoud Malouf, the film was primarily shot at Babelsberg, the world's oldest film studio, and boasts an impressive cast led by Benicio Del Toro, Kate Winslet’s daughter Mia Threapleton, and Michael Cera. 

Zsa-Zsa Korda (Del Toro), a cunning, wealthy industrialist, has survived multiple plane crashes and assassination attempts. Wanted for fraud, he is a man of countless schemes and grand projects for the Phoenicia region. He designates his daughter Liesl (Threapleton), a 21-year-old nun, as the sole heir to his empire.

The story zigzags between relentless assassins—all former employees of Korda—infiltrators, double agents, betrayals, revolutionary guerrilla robberies, mysterious shoeboxes, and a hilariously odd basketball competition. The dialogues are surprisingly witty, and Anderson’s cinematic universe is stylized to reflect his unique whims. The Phoenician Scheme may not fully achieve the greatness it aspires to, but it offers a relentlessly stylish parade of comic characters—certainly a more charming, funny, and captivating experience than Anderson’s previous dull feature Asteroid City (2023). At least here, I remained invested in the characters, in a film propelled by an atypical rhythm and enlivened by an unapologetic “cartoon” sensibility. 

Framed by fragmented twists, it doesn’t always land both narratively and comically, but its flashes of darkness bring a welcome novelty to a burlesque depiction of society that questions our times with explosiveness and wild madness.

When Fall is Coming (2025)

Direction: François Ozon
Country: France 

With the eclectic French filmmaker François Ozon at the helm, you never know which kind of film you're going to get. When Fall is Coming is a drama of atypical heroines that never follows predictable paths. Set mostly in Burgundy, in the French countryside, the story slowly distills its charms and poisons, exploring the thin line between good and evil.

This seemingly good-natured drama, imbued with scenes of commiseration, guilt, and relief, thrives on doubt and ambiguity, heightened by Ozon’s refusal to over-explain. The audience is invited to embrace uncertainty and draw their own conclusions. The understated mystery recalls Chabrol, with the academic form and classic staging perfectly suiting the film’s slightly opaque narrative. 

81-year-old actress Hélène Vincent, who was phenomenal in Brizé’s A Few Hours of Spring (2012), delivers a remarkable performance as Michelle Giraud—a devoted grandmother and former prostitute—capturing brief seconds of mental absence and confusion with striking precision. Ozon reunites with her and Josiane Balasko, who plays her best friend, seven years after By The Grace of God. More notably, he works again with Ludivine Sagnier—portraying Michelle’s depressed daughter—22 years after launching her career with Swimming Pool. Another successful reunion is with cinematographer Jérôme Alméras, Ozon’s collaborator on the 2012 drama-mystery In the House. 

When Fall is Coming unfolds in a familiar slow-burn fashion, but it’s a deeply satisfying watch. A film of small moments and subtle gestures, where performances radiate warmth and pain, gradually defining the characters. Following the playful extravagance of The Crime is Mine (2023), Ozon closely observes human behavior and emotions with profound quietude.

The Most Precious of Cargoes (2024)

Direction: Michel Hazanavicius
Country: France

From Michel Hazanavicius—the director of The Artist (2011)—The Most Precious of Cargoes marks his first animated feature, adapted from a novel by French playwright and author Jean-Claude Grumberg. The story centers on a poor woodcutter and his wife who, unable to have children, are unexpectedly blessed with a Jewish baby thrown from a moving train bound for Auschwitz. Narrated by the late Jean-Louis Trintignant—who passed away in 2022—the film is steeped in rural isolation, irrational beliefs, and the unspeakable horrors of the Holocaust, a hauntingly fertile ground for such a tale. Though animated, this is not an easy watch—nor should it be. It serves as a quiet, poignant resistance to the gradual and inevitable fading of our collective memory.

Hazanavicius, whose roots lie in an Eastern European Jewish family, crafts a postmodern fairy tale with simplicity and effectiveness, evoking deep emotion through acts of kindness and humanity. Even with modest dialogues, he generates a great deal of drama with a fierce kind of courage. This is reinforced by Alexandre Desplat’s oversentimental score.

Vulcanizadora (2025)

Direction: Joel Potrykus
Country: USA

The films of independent filmmaker Joel Potrykus have achieved cult status, often presenting high-risk material that yields unexpected rewards. His latest black comedy thriller, Vulcanizadora, follows two emotionally unhinged outfits—the hyperactive, motor-mouthed Dereck Skiba (Potrykus) and the laconic, perpetually bored Marty Jackitansky (Joshua Burge). They make a bizarre pact deep in the Michigan woods. A decade after Buzzard, Potrykus and Burge reprise their roles in this psychotic delirium laced with psychological horror.

The actors dominate every scene, clearly relishing the opportunity to explore territory most filmmakers would shy away from. They do so with a disarming simplicity. The subject matter is anything but light, and the film’s pull comes from the ambiguity and tension it steadily builds.

Bone-dry in tone, Vulcanizadora offers zero warmth, scant compassion, and weird characters. There is something profoundly unsettling about this tale of anguish, as Potrykus probes human vulnerability with a nameless, creeping unease. He reminds us that there’s still vitality in low-budget independent cinema, and his oddly sorrowful mindbender—flawed and fascinating—leaves its mark.

La Cocina (2025)

Direction: Alonso Ruizpalacios
Country: Mexico / USA

Adapted from Arnold Wesker's play, La Cocina  is an exercise in style, full of highs and lows. It portrays a large, chaotic, multicultural New York kitchen where steel clangs, voices clash, and bodies move with tense urgency. Mexican director Alonso Ruizpalacios (Gueros, 2014; Museo, 2018) crafts a hot-blooded, surreal, and poetic spectacle that often resembles a wild circus.

Amid the clamor, dreams and personal struggles simmer—money has mysteriously vanished from one of the registers, and suspicion falls on Pedro Ruiz (Raúl Briones), a volatile, immature Mexican cook who has gotten Julia (Rooney Mara), an American waitress, pregnant. The film’s atmosphere is zany and sometimes disorienting, yet it retains a certain magnetic pull.

Undocumented immigrants and the marginalized are at the heart of the story—they’re indispensable and yet exploited—and the film offers fleeting but poignant glimpses into their roles in the restaurant’s ecosystem, which mirrors the nation’s broader social dynamics. The characters feel vivid and authentic, each with distinct aspirations and personalities, contributing to a frenzied spectacle that veers between hilarious and excruciating. 

La Cocina thrives primarily on its kinetic energy, with bursts of anger pushed deliberately to extremes, while also grappling with the dehumanizing mechanisms of an overburdened capitalist system that traps its workers. The score insightfully conveys the characters’ inner turmoil, and visually, cinematographer Juan Pablo Ramírez excels with striking black-and-white imagery and expressive camera work.

Black Bag (2025)

Direction: Steven Soderbergh
Country: USA 

Black Bag—a term referring to clandestine operations carried out by spies to steal secrets or sensitive documents—is a slow-burning thriller directed by Steven Soderbergh and starring an ensemble cast spearheaded by Michael Fassbender and Cate Blanchett. Fassbender’s character, George Woodhouse, is loosely inspired by CIA legend James Jesus Angleton.

Set in London over a taut, fast-paced week, the film doesn’t skimp on suspense—and even less on bite. David Koepp’s sharp script guides us through an unflashy yet gripping narrative of secret agents—two of them bound by an unshakable marital bond—doubtful behaviors and motives, and slippery professional relationships. Micro-aggressions, overt confrontations, cynical exchanges, and provocative mind games abound, all delivered with the right mix of irresistible glamour and disdainful coldness.

Though a minor entry in Soderbergh’s filmography, Black Bag brews a sleek concoction of twisted love and espionage with classy images and perfectly written dialogue. It’s a methodical, disconcerting, and deceptively simplistic effort from the American filmmaker, whose restrained touch here proves unexpectedly enjoyable.

Hard Truths (2025)

Direction: Mike Leigh
Country: UK

Written and directed by the great Mike Leigh (Naked, 1993; Vera Drake, 2004), Hard Truths is an acrid contemporary drama that explores depression and bitterness within an African-American family in England. Marked by the pragmatic, unflinching realism that defines much of Leigh’s work, the film centers on Pansy Deacon (Marianne Jean-Baptiste), an unsympathetic, deeply unhappy woman whose life is weighed down by trauma, extreme control, antagonism, and emotional isolation. Lonely, exhausted, and fearful, she makes life unbearable for her hardworking husband, Curtley (David Webber), and their indolent 22-year-old son, Moses (Tuwaine Barrett). The only person who can tolerate Pansy’s abrasive nature is her sister, Chantelle (Michele Austin).

Reuniting with Jean-Baptiste 28 years after Secrets & Lies—Leigh’s Palme d’Or-winning drama—the director presents a toxic home environment with no easy resolution. It’s an intense, at times overwhelming experience, more humiliating than humorous, and grappling with Leigh’s recurring theme: the sheer difficulty of living. Emotional suffocation, unrelenting tension, and pervasive sadness dominate the atmosphere, yet if ever a performance could redeem such bleakness, it is Jean-Baptiste’s.

At times, while carrying his love-it-or-hate-it penchant for directness, Leigh risks alienating the audience from his intent. However, he ensures that every emotional wound is laid bare with sharp clarity, granting his actors the freedom to improvise in a way that heightens the film’s authenticity. The good part is that he’s not afraid to show the ugliest moments of life, doing it without passing judgment.

Nickel Boys (2024)

Direction: RaMell Ross
Country: USA

Based on Colson Whitehead’s 2019 Pulitzer Prize-winning novel, Nickel Boys, is a poignant historical drama directed and co-written by RaMell Ross in his narrative feature debut. The film follows two young Black men struggling to survive the brutal realities of a Florida reformatory school in the 1960s. Inspired by the real-life Nickel Academy—a segregationist institution notorious for its systemic abuse—the story unfolds with a raw, unflinching perspective. 

Presented from a first-person point of view, this tough-minded film thrives on exquisitely composed imagery that both stimulates the senses and piques curiosity. Ross employs a distinct filmmaking intensity, one that encourages viewers not just to watch, but to observe and feel deeply. Echoing the works of Terrence Malick, Charles Burnett, and Barry Jenkins, he approaches youth incarceration with a fiercely personal and devastating lens. 

Not being an easy watch, Nickel Boys offers an impressionistic view of a tragic experience, covering predictable ground with an admirable sense of artistry and a fair dose of sincerity.

All We Imagine as Light (2024)

Direction: Payal Kapadia
Country: India

All We Imagine as Light is a heartfelt love letter to Mumbai — a poetic, tender, and thoughtful portrait of contemporary India that follows the lives of two nurses and a cook working at a bustling Mumbai hospital. 

Prabha (Kani Kusruti), an experienced nurse, struggles with loneliness, haunted by an arranged marriage to a stranger who quickly immigrated to Germany and hasn't contacted her for over a year. Her vivacious younger roommate, Anu (Divya Prabha), challenges societal norms by dating a Muslim man, stirring a quiet jealousy in Prabha, who feels stagnant despite the subtle advances of Dr. Manoj (Azees Nedumangad). Meanwhile, their friend Parvathy (Chhaya Kadam), a widowed cook, faces displacement as a greedy landlord threatens her with eviction, forcing her to return to her hometown of Ratnagari.

Powered by three exquisite performances, this nuanced Indian tale unfolds in two distinct parts, each marked by its own landscape and emotional cadence. The film presents diverse forms of resistance against life's adversities, with writer-director Payal Kapadia, who has a background in documentary, wrapping every scene in grace and quiet revelations. Rather than seeking dramatic excesses, she adheres to a composed subtlety that works better than a river of tears. 

All We Imagine as Light is a soothing balm amidst the chaotic rhythms of modern Mumbai, offering a gentle meditation on life's complexities. Its lingering tenderness leaves a profound impression long after the credits roll.

Nosferatu (2024)

Direction: Robert Eggers
Country: USA

Gothic morbidity saturates Nosferatu, a fable of supernatural torment and human sacrifice that’s reasonably chilling, offering a sumptuous engorgement of the senses. This latest adaptation, written and directed by Robert Eggers (The Witch, 2015; The Lighthouse, 2019; The Northman, 2022), is a remake of F.W. Murnau’s 1922 horror gem Nosferatu: A Symphony of Horror. More monstrous and barbaric than its previous incarnations, Nosferatu is true to Eggers’ singular style, who made it darker and dirtier but still imbued with the essence of German expressionist cinema. 

Eggers' Nosferatu sheds the trappings of traditional horror to embrace a lavish yet unsettling modern interpretation of vampirism. Though bleak and brutal, it lacks sustained suspense but introduces intriguing new elements that captivate. Lily-Rose Depp, stepping in for Anya Taylor-Joy, delivers a commendable performance as Ellen, bringing depth and nuance to the role. Willem Dafoe, in his third collaboration with Eggers, portrays Professor Von Franz, an authority on alchemy, mysticism, and the occult who aids Ellen as her dreams grow more sinister and possessions intensify. Bill Skarsgård embodies the ominous Count Orlok, a vampire consumed by an obsessive desire for Ellen since her youth.

Jarin Blaschke’s impeccable cinematography masterfully captures the brooding atmosphere, while the period-appropriate costumes enrich the film’s dread-laden 19th-century ambiance. Despite a few unnecessary stretches, Nosferatu may not reach the pinnacle of vampire cinema, but it remains a taut and eerie spectacle anchored by strong, compelling performances.

The New Year That Never Came (2024)

Direction: Bogdan Muresanu
Country: Romania

Bogdan Muresanu’s debut feature, The New Year That Never Came, is a political Romanian tragicomedy expanding on his 2018 short film The Christmas Gift. Set against the tumultuous backdrop of the Romanian revolution, the story unfolds over a single day in Bucharest, just before the fall of Nicolae Ceaușescu’s regime.

Filmed in a restrained 4:3 format, the film relies on a skilled ensemble cast to deliver a stripped-down exercise in social realism. While Mureșanu’s simmering narrative never fully boils over, it serves as a poignant meditation on oppression and fear. Carefully structured and tightly measured, it maintains a controlled tension that keeps the audience engaged.

The characters are far from preoccupied with trivial matters. Among them, we meet a disillusioned young student contemplating an illegal escape from the country, a group of men desperately trying to manipulate a politically damning video, a middle-aged woman emotionally torn as she faces losing her home, and a father thrust into jeopardy because of an innocent letter written by his son.

Through its pointed surface, The New Year That Never Came manages to tell us a great deal, capturing both the gravity and absurdity of life under a collapsing regime and offering viewers an evocative and thought-provoking experience. The film’s resonance and craftsmanship earned it the Orizzonti Award and the FIPRESCI Prize at Venice Film Festival.

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.

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.

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.

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.

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.