Lee Chang-dong’s masterful and unclassifiable follow-up to Poetry teems with ambiguity, inevitability and sublime mystery, says Jessica Kiang.
Wang Bing’s harrowing, eight-hour documentary explores a long suppressed, and utterly horrific, chapter of China’s history, writes Giovanni Marchini Camia.
Lukas Dhont’s debut feature is a breathtakingly empathetic tale of a young woman struggling to be at peace in her body, with a breakout performance from Victor Polster, writes Katherine McLaughlin.
Shot in gorgeous monochrome, the latest film from the Polish director centres on a whirlwind romance between two musicians in a divided post-war Europe, says Nick James.
Japanese master Koreeda Hirokazu steals up on our feelings with a subtly, furiously humane analysis of his perennial theme – family, here at its most impromptu and vulnerable, writes Jessica Kiang.
Jia Zhangke explores the masculine codes of his previous work in this ravishing, self-referential film about a woman in love with a mobster, with an astonishing lead performance from Zhao Tao, writes Giovanni Marchini Camia.
Turkish master Nuri Bilge Ceylan’s latest follows a would-be writer’s reluctant return to his small-town fold, spinning an extensive series of conversational encounters into a typically rich, wry, melancholic mood-piece, says Geoff Andrew.
Salvation is barely a twinkle in the eye of pre-teen scrabbler Zain, driven to sue his parents for bringing him in to a life of destitution in Nadine Labaki’s furious, tumultuous Lebanese drama, writes Caspar Salmon.
The crime saga is reimagined in the tribal lands of north Colombia in this vivid, distinctive film from the makers of Embrace of the Serpent, writes Christina Newland.
Félix Maritaud pulls out the stops as a gay sex worker diving for a deeper connection in Camille Vidal-Naquet’s fulsomely passionate and explicit feature debut, writes Elena Lazic.
Alice Rohrwacher follows The Wondera with a boldly unsentimental tale of a holy innocent, an inexplicable miracle and a tyrannous aristocrat, writes Geoff Andrew.
The dream-like, noir-ish second film from the twenty-something Chinese director Bi Gan follows a solitary man as he attempts to track down a past lover.
A before-and-after-the-wipeout portrait of an alienated news cameraman who suddenly finds himself alone and thriving, Ulrich Köhler’s social critique is horrifying, hilarious and deeply humane, writes Giovanni Marchini Camia.
Spike Lee’s raucous investigative satire of American white nationalism whoops up a true fairy tale of anti-racist swamp-draining – without obscuring the bigger picture of a bigotry that endures, says Sophie Monks Kaufman.
A lost lover haunts a young woman in Hamaguchi Ryusuke’s beguiling and mysterious follow-up to ensemble epic Happy Hour, writes Michael Leader.
Marcello Fonte won the Best Actor award at Cannes for his role as a big-hearted but beleagued dog sitter who tries to turn worm in Matteo Garrone’s gimlet-eyed Roman revenger. John Bleasdale reviews.
This delicate Syrian drama revolves around a nuanced performance from Manal Issa as a young woman uneasy in her skin and yearning for a more satisfying life, writes Rebecca Harrison.
A teenage boy watches his parents’ marriage crumble in Dano’s nuanced directorial debut, which features exemplary lead performances from Carey Mulligan and Jake Gyllenhaal, writes Ella Kemp.
Graceful, subtle, satisfying and emotionally complex, this is one of Christophe Honoré’s best films, with a standout performance from Vincent Lacoste, writes Jonathan Romney.
Spanish auteur Jaime Rosales softens his experimental edges a notch with a cerebral and darkly witty melodrama in which a truth-seeking artist meets her malicious nemesis, writes Michael Leader.
Unconventional storytelling, adorable pets and topical references swell this affectionate yarn about a Cristiano Ronaldo-esque soccer star being co-opted into an anti-EU plot, writes Sophie Monks Kaufman.
Border guard Tina has a powerful nose for trouble in this twisted combination of procedural crime drama and animalistic romance, writes Sophie Monks Kaufman.
Noé’s breathtaking one-room dance film turns up the heat on a troupe of unfortunate wrap-night celebrants, says Ella Kemp.
Andrea Bescond’s impressive debut feature about a dancer who seeks out a therapist to help her come to terms with childhood abuse is an ode to the restorative powers of the arts, writes Rebecca Harrison.
Benedikt Erlingsson’s follow-up to Of Horses and Men mixes absurdist comedy and tense thriller, with Halldóra Geirharðsdóttir as an eco-justice warrior faced with the challenge of juggling protest responsibilities and foster motherhood, writes John Bleasdale.
An 18th-century monk, played with intense fervour by Quentin Dolmaire, is excited by the radicalism of the age and the sensuality of nature in Clément Schneider’s potent first feature, writes Caspar Salmon.
Panos Cosmatos’s follow-up to Beyond the Black Rainbow is a gloriously lurid mock-80s revenge quest that aims a raging, roaring Nicolas Cage at villains from another dimension, reports Katherine McLaughlin.
This fresh and courageous coming-out drama from Wanuri Kahiu deserves to be seen, especially in its home nation where, as the film shows, homophobia is rife, writes Amy Taubin.
Luis Ortega’s film doesn’t judge the horrible crimes of its baby-faced serial killer anithero, played by Lorenzo Ferro. Instead it’s a subversively funny and cool take on the crime movie, writes Christina Newland.
Marion Cotillard is outshone by her youthful co-star Ayline Aksoy-Etaix in this flawed but emotionally vibrant melodrama – a remarkable debut from Vanessa Filho, writes Ella Kemp.
Andrew Garfield’s overgrown fanboy cum sleuth loses his girl and then himself in David Robert Mitchell’s compromised but cult-ready follow-up to It Follows, says Michael Leader.
Sergey Dvortsevoy’s long-awaited follow-up to Tulpan holds close to a hard-pressed Kyrgyzstani migrant ducking and diving in the Russian metropolis; it’s sincere and hard-wrought if cinematically routine, says Geoff Andrew.
Resting heavily on a powerful performance by Vincent Lindon, Stéphane Brizé’s follow-up to The Measure of a Man is another portrait of contemporary European labour relations that convinces more in the general than in the particular, says Geoff Andrew.
The Iranian director’s latest is both one of his most conventional films and an enjoyable return to elements from both his and Abbas Kiarostami’s back catalogue, writes Geoff Andrew.
The Iranian director’s sojourn to Spanish wine country marks a change of scene if not of tack, with Penélope Cruz and Javier Bardem leading a starry clockwork family whodunnit, says Nick James.
Though Sergei Loznitsa’s episodic film has valuable moments of insight, it lacks the quiet openness found in his documentaries, as it veers wildly between drama and farce, writes James Lattimer.
Eva Husson’s crudely didactic drama about Kurdish women fighting the Islamic State emphasises misogynist pain and degradation at every chance, says Christina Newland.
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