September 5 (2024)

Direction: Tim Fehlbaum
Country: USA

In September 5, Swiss director Tim Fehlbaum (Tides, 2021) turns his lens to a harrowing event that shook the world of sports in 1972. During the 20th Summer Olympics in Munich, Palestinian terrorists known as Black September took a team of Israeli athletes hostage. Simultaneously, journalists and executives from ABC Sports were forced to interrupt their coverage of the competitions to broadcast the crisis live—a historic moment witnessed by 900 million people worldwide. 

This informative inside-room thriller borders on documentary, meticulously recreating a pivotal moment in television journalism. The film’s attention to detail is striking, particularly in its reconstruction of a fast-paced 1970s TV studio. Yet, it lacks dramatic punch, favoring simmering tension over raw emotion, and appearing slightly below its potential. 

That said, Fehlbaum effectively channels the spirit of 1970s American cinema in a classic way, raising questions about the media’s responsibility in real-time crisis reporting. While the story had the potential for grander impact, it remained somewhat unthrilling, especially for those familiar with the events.

The ensemble cast—including John Magaro, Peter Sarsgaard, Leonie Benesch, and Ben Chaplin—delivers solid performances, though no one truly stands out. Still, the film successfully explores journalistic ethics, weaving moral dilemmas and personal ambitions into its narrative with nuance and objectivity.

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.

A Complete Unknown (2024)

Direction: James Mangold
Country: USA 

James Mangold’s biographical drama A Complete Unknown delves into the early rise of American singer-songwriter Bob Dylan, capturing the transformative years between 1961 and 1966. This pivotal period in Dylan’s ever-evolving career sees him transition from a struggling nomad to a folk hero and ultimately to a groundbreaking rock icon. Co-written by Mangold and Joe Cocks, the film is based on Dylan Goes Electric! by musician and music journalist Elijah Wald. 

French actor Thimothee Chalamet skillfully slips into the shoes of the genius, transmitting Dylan’s spirit in his twenties and conveying not only his elusive personality but also his enigmatic charm. Singing, playing guitar, and embodying the artist’s restless spirit, his portrayal borders on perfection. 

The film traces Dylan’s meteoric rise, his tumultuous relationships with Suze Rotolo (Elle Fanning) and folk singer Joan Baez (Monica Barbaro), and the seismic shockwaves of his controversial Newport Folk Festival performance, where he defied expectations by picking up an electric guitar. This moment, a turning point in his career, signified his determination to forge his own path beyond the confines of traditional folk music.

Mangold and cinematographer Phedon Papamichael, a frequent collaborator since 2003, vividly reconstruct the atmosphere of New York’s Greenwich Village in the 1960s, painting a visually rich and immersive portrait of the era. There is careful craftsmanship in Mangold’s direction—nothing feels cheap or inauthentic. Having already demonstrated his prowess in biopics with Walk the Line (about country-folk and rockabilly singer Johnny Cash) and Ford vs. Ferrari, he ensures that the film not only tells Dylan’s story but also reflects the broader political and cultural influence of American folk music at the time. 

What sets A Complete Unknown apart is its deep admiration and respect for both Dylan and the artists who surrounded him. The dry, academic biography that many might have feared turned out a rich and fascinating work. Not a moment is wasted in a film that runs fluidly, with historical significance.

Sing Sing (2025)

Direction: Greg Kwedar
Country: USA

Sing Sing tells the story of Divine G (Colman Domingo), an inmate at the infamous high-security prison who finds solace and purpose in a theater program while serving time for a crime he didn’t commit. Inspired by true events, the film is directed by Greg Kwedar (Transpecos, 2016; Jockey, 2021), who once again collaborates with Clint Bentley on the script. Notably, several former prisoners who benefited from this artistic rehabilitation program appear in the cast, adding an extra layer of authenticity.

Sometimes heavy-handed, sometimes surprisingly fluid, the documentary-like drama is carried by Domingo, who portrays a man reclaiming a fragment of his lost humanity by daring to dream of a new life. Shot primarily with a shoulder camera, the film favors close-ups, capturing expressions steeped in regret and pain. Presented without artifice, Sing Sing follows a slow-burning script in which characters gradually reveal themselves—though the emotional impact doesn’t always land as powerfully as intended. 

A sort of Dead Poets Society within Shawshank, the film’s message of hope and friendship is intertwined with a stripped-down, minimalist theatricality that sometimes borders on the academic. While not particularly surprising in its execution, Sing Sing maintains a genuine human tone, packed with disillusion, frustration, and hope. It’s a serious work, though one that may be challenging to engage with as pure entertainment.

Exhibiting Forgiveness (2024)

Direction: Titus Kaphar
Country: USA

Exhibiting Forgiveness marks the directorial feature film debut of Titus Kaphar, an American contemporary painter who draws from his own life, deconstructing personal experiences to craft a thoughtful, if imperfect, drama. The film stars André Holland as Tarell, a talented Black painter haunted by the past. His beloved mother, Joyce (Aunjanue Ellis-Taylor), is terminally ill, and urges him to reconcile with and forgive his estranged father, La’Ron (John Earl Jelks), a former drug addict whose neglect and cruelty made Tarell’s childhood a nightmare. Together, father and son grapple with the painful truth that forgetting is often harder than forgiving.

With family trauma at its core, the film is ultimately about healing and finding a path forward. While occasionally tentative, it remains an honest and heartfelt melodrama that flickers with emotional depth, even if it never fully ignites. It is a small film in the best sense—intimate, personal, and rooted in the everyday struggles of ordinary people. However, the slow, restrained performances sometimes add more mannerism than poetry to this pursuit of happiness.

Kaphar’s screenplay, not being thin, is on the verge of collapsing on several occasions, leaving emotions in an embryonic state. However, a simmering tension is maintained, and the actors ultimately hold it together. Exhibiting Forgiveness is a movie at odds with itself, but that internal struggle is also its greatest strength.

Queer (2024)

Direction: Luca Guadagnino
Country: USA

Queer is an unimaginative adaptation of William S. Burrough’s 1985 novella, tracing the peculiar journey of his literary alter ego. In 1950s Mexico City, William Lee (Daniel Craig), an American expat in his late forties, leads a solitary life amidst a small American community. However, the arrival in town of Eugene Allerton (Drew Starkey), a charming young student recently discharged from the U.S. Navy, stirs William into finally establishing a meaningful connection with someone. Directed by Luca Guadagnino (Call Me By Your Name, 2017; Suspiria, 2018; Challengers, 2024), with a screenplay by Justin Kuritzkes, the film focuses on a strong character but fails to explore his emotional complexities. 

The film is built on an uneven collection of episodes and intensities that never takes us anywhere despite a feverish final act. The director is true to form, yet the film’s sterile, overly polished approach never truly engages the heart or mind. The climactic descent into spiritual reckoning feels heavy-handed, offering no real payoff.

Craig delivers an impressive performance portraying a man of self-sufficiency and excesses, but Guadagino's approach bothered me as he unoriginally tries to shape the couple’s bonding as revelatory. There’s no need for wider social and cultural context, but in terms of romance, emotions struggle to pop up. The film’s strongest assets are its evocative cinematography by Sayombhu Mukdeeprom—whose lighting draws inspiration from Flemish painters—and a powerful contemporary soundtrack featuring Nirvana, Prince, and Sinéad O’Connor. However, these flourishes aren’t enough to elevate an otherwise hollow experience.

The Brutalist (2025)

Direction: Brady Corbet
Country: USA

The Brutalist, the fourth feature from Brady Corbet, co-written with his wife Mona Fastvold, is a riveting epic drama starring Adrien Brody, Guy Pearce, and Felicity Jones. The film’s title references both the stark architectural style that emerged in the 1950s—marked by raw materials like concrete and brick—and the underlying brutality of human nature. 

At its core, it tells the story of László Toth (Brody), a visionary Hungarian architect who escapes war-ravaged Europe to rebuild his life in America after surviving the concentration camps. His dreams take shape when wealthy tycoon Harrison Van Buren (Pearce) recognizes his talent and commissions him for an ambitious project. However, the opportunity comes at a steep cost, forcing László to navigate a world of power, ambition, and disillusionment.

Embracing a style that evokes the cinema of Paul Thomas Anderson and Orson Welles, The Brutalist explores the intersection of the immigrant experience and the artist’s journey, as well as the corrosive effects of human dominance. Over its sweeping 3-hour-and-35-minute runtime, the film presents both breathtaking visuals and an unflinching portrayal of an artist’s struggle, leaving the viewer bracingly unsettled.

The Brutalist is breathtakingly cruel and merciless in its essence, served by masterful performances, a punchy dialogue, and bravura staging. As a film of remarkable dramatic and formal magnitude, the more you think about it, the better and more qualified the film seems. A monumental work that firmly establishes itself as an instant classic.
Brody, an actor in state of grace, embraced another tailor-made role for him, making The Brutalist one of the standout films of the year.

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 Room Next Door (2024)

Direction: Pedro Almodovar
Country: USA 

The Room Next Door proves to be a far better book than a movie. Celebrated Spanish director Pedro Almodóvar adapts Sigrid Nunez’s What Are You Going Through with conventional dialogue and a calm, polished dramatization that feels too cerebral to evoke powerful emotions.

Despite its heavy central theme, the film isn't a painful watch. It's poignant, occasionally depressing, yet also comforting as it portrays a touching relationship between two captivating characters who admire one another deeply. Ingrid (Julianne Moore), a celebrated author, unexpectedly reconnects with Martha (Tilda Swinton), a retired New York Times war journalist battling stage-three cervical cancer and undergoing experimental treatment. After a failed round of treatment, Martha makes a disconcerting request, asking Ingrid to be present in "the room next door" when she takes an euthanasia pill. Though troubled by the request, Ingrid agrees out of compassion and loyalty. 

The film boasts top-tier performances, though they cannot completely overshadow script oscillations and a certain stiffness in the dialogue. Almodóvar orchestrates the story with elegance, presenting a sober, aesthetically refined depiction that acknowledges the fragile beauty of life while delicately studying suffering. Themes of death, forgiveness, friendship, and regret unfold in a series of contemplations that often feel superfluous. The absence of surprising twists, dramatic friction, or even subdued intensity reveals a more restrained and simplistic Almodóvar, lacking the emotional weight of his past masterpieces. 

The weight of the film rests entirely on the shoulders of its exceptional actors, with Moore and Swinton—the latter delivering another remarkable double role—holding the film together with a genuine friendship supported in honesty and compassion. 
Failing to make a lasting, thought-provoking impression, The Room Next Door still has power, but not as much as it should. Blame the restrained aesthetics, light approach, and occasional conversational inelasticity.

Babygirl (2024)

Direction: Halina Reijn
Country: USA

Babygirl, an erotic psychological drama written, directed and produced by actress turned director Halina Reijn (Bodies Bodies Bodies, 2022), feels pedestrian and unexciting. The film follows Rory Mathis (Nicole Kidman), a powerful CEO of a New York robotics company specialized in logistics innovation. Frustrated by the lack of sexual stimulation in her marriage to filmmaker Jacob (Antonio Banderas), Rory embarks on an illicit affair with her much younger intern, Samuel (Harris Dickinson), who seems uncannily attuned to her desires. As their relationship deepens, Rory's vulnerability takes over, leading to chaos and loss of control.

Babygirl vacillates in a sexual game, which, not being new, can be fetishistically real. However, the story winds down as it develops, being pushed into ridiculousness in its final segment and ultimately failing to create a positive impact. Reijn seems uncertain about the film’s direction—wavering between drama, thriller, eroticism, and the bizarre—while her characters remain similarly unsure of whether they seek dominance or submission. 

Visually, the film offers little of note aside from a vividly trippy nightclub scene. The poorly crafted dialogue and inconsequential details further cloud a story already plagued by repetition and artificiality. Performances are uneven: Kidman commands the screen with intensity, Banderas delivers a weak and often laughable portrayal, and Dickinson strikes an awkward middle ground, exuding misplaced confidence without leaving a lasting impact. 

Despite its provocative premise, Babygirl never delivers the emotional payoff it seems to promise, leaving viewers waiting in vain for something truly gripping or transformative.

A Real Pain (2024)

Direction: Jesse Eisenberg
Country: USA

A Real Pain, the sophomore directorial feature by Jesse Eisenberg, who also stars, focuses on two American Jewish cousins having a hard time to fully reconnect and deal with their feelings during a one-week trip to Poland to honor their late grandmother. David (Eisenberg), a devoted husband and father, is reserved, obsessive-compulsive, sentimental, and occasionally jealous. In contrast, Benji (Kieran Culkin) is a free-spirited, bluntly honest, impulsive, and depressive foil. While both are grateful for the shared journey, their genuine friendship is rife with tension and friction.

This seriocomic slice of life, penned by Eisenberg, feels effortlessly light, even as it navigates a series of awkward situations. However, the narrative structure is so sparse it often feels skeletal. Dramatic moments occasionally fail to reach their emotional apex, and the simplistic character psychology aligns with a script that seems designed more to gently entertain than to provoke or deeply resonate.

The premise dissipates quickly, leaving surface impressions that fluctuate between pleasantly whimsical and mildly moving. The film’s subdued emotional tone is further undercut by its ambiguous and bittersweet ending, which feels stagnant. What raises A Real Pain slightly above the mediocrity is its comic riffs—toggling between annoying and amusing—and the strong chemistry between Culkin and Eisenberg. The quirkiest thing about it is how much it spends in trivial details at the sound of Chopin’s melancholic nocturnes and waltzes. Not being particularly inventive or diverting, A Real Pain remains in tepid waters for most of its duration, and failed to move me in almost every aspect.

The Order (2024)

Direction: Justin Kurzel
Country: USA

In Justin Kurzel’s crime thriller The Order, Robert Matthews (Nicholas Hoult), a staunch neo-nazi affiliated with the Aryan Nations puts words into action, following the method described in the notorious book The Turner Diaries—authored by National Alliance founder William Luther Pierce—turning hateful rhetoric into violent action, and following its blueprint for armed revolution and assassination tactics. Declaring war on the federal government and engaging in domestic terrorism, Matthews faces off against Terry Husk (Jude Law in a muscular performance), a hardened, short-tempered FBI agent determined to dismantle the rise of white supremacy. 

Set in the early 1980s, the fact-based script by Zachary Baylin (King Richard, 2021; Creed III, 2023) combines historical authenticity with narrative urgency. Initially unfolding as a conventional thriller, the film gradually deepens into a darker exploration of extremism in a satisfying combination of genre thrills and real-life implications. It deftly captures the disturbing proximity between extremist ideologies and their violent manifestations, challenging viewers to confront these realities. 

Visually unremarkable and interspersed with bursts of repetitive action, The Order distinguishes itself through its compelling emphasis on character. Hoult and Law deliver intense performances that anchor the narrative, while Kurzel, known for Snowtown (2011) and Nitram (2021), demonstrates a measured approach to the sensitive subject matter. He skillfully balances the film's elements, allowing the actors to discover moments of nuance, rhythm, and vulnerability within the story. 

Equal parts unsettling and candid, The Order doesn’t quite transcend genre expectations, yet some may find curiosity in the way Kurzel explores the themes.

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.

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.

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.

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.

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.

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.