Universal Language (2025)

Direction: Matthew Rankin
Country: Canada

Universal Language is a stylistically and structurally interesting piece of poetic madness set in the dreary Canadian city of Winnipeg, where the locals, inexplicably, speak Farsi. The film’s mood is peculiar, gravitating between the absurdist aesthetics of Roy Andersson and Wes Anderson, and the emotional cadences reminiscent of Abbas Kiarostami.

In his sophomore feature, co-writer, director, and actor Matthew Rankin plays Matthew, a man who leaves his bureaucratic job in Quebec to return to his frigid hometown of Winnipeg, hoping to reconnect with his mother. Instead, he forms unexpected bonds with two kind-hearted children, a stranger his mother now lives with, and an eccentric tour guide.

The film’s atmosphere evokes a bygone era, and what begins as a puzzle—initially cold and disjointed—gradually coalesces into an emotional whole, its pieces ultimately fitting together. There is never a moment when the viewer is unaware of the film’s constructed artifice, yet the experience isn’t exactly off-putting. It demands patience, certainly, but its melancholy and arid tone are softened by geometrically composed frames that establish a contemplative relationship between space and architecture.

Rankin dares to think outside the box, presenting a visual and narrative approach that defies conventional standards. His movie comes with a hard core of disillusionment but also hope in humanity, and viewers in tune with his offbeat sensibilities will enjoy both the deadpan humor and the bold unconventional choices.

Warfare (2025)

Direction: Alex Garland, Ray Mendoza
Country: USA

With Warfare, co-director Alex Garland reaffirms his talent for crafting visceral, unflinchingly realistic war films, recounting the harrowing true story of a group of Navy SEAL snipers trapped in a commandeered Iraqi house during a high-risk U.S. Marines operation. Garland shares directing duties with Ray Mendoza, a former soldier who served on the actual mission, lending the film an added layer of authenticity.

If Civil War generated a buzz ahead of its success in 2024, then Warfare, featuring a stellar ensemble cast, delivers an even more intense experience, filled with brutal moments of pain and suffering, and punctuated by chilling silences and the muffled screams of despair. Be warned: the graphic violence may be deeply unsettling for some viewers.

The film portrays a grim chapter of American military history, one that not only sets your heart racing but also provokes reflection on the brutality and futility of war. Shot with unwavering precision and driven by a chaotic, raw, and primitive force, Warfare remains relentlessly claustrophobic and emotionally gripping from start to finish. The frequent use of close-ups deepens the audience's connection to the characters' trauma, making this one of the most nightmarish depictions of modern warfare ever captured on screen—an unforgettable descent into the psyche of men at war, and a powerful, if harrowing, cinematic experience.

Ghost Trail (2025)

Direction: Jonathan Millet
Country: France

Inspired by true events, Ghost Trail marks the remarkable fictional feature debut of Jonathan Millet, who, drawing on his background as a documentarian, spent considerable time researching the subject of his film. The story follows a Syrian literature professor who, after being released from one of Bashar al-Assad’s notorious prisons, sets out to track down his torturer—someone whose face he has never seen, and who likewise never saw his. Now living in Strasbourg, France, this fractured man operates with the aid of an invisible network of six others, spread across the globe, all seeking justice from the shadows.

This intelligent spy thriller, steeped in obsession and executed with methodical subtlety, plunges directly into the recent, harrowing history of a wounded Syria. Tense and controlled, the film achieves a disturbingly realistic tone, grounded in believable character dynamics that immediately pull the viewer in and sustain engagement throughout. The pursuit is long, slow, and fraught with uncertainty, but the tension pays off. The protagonist, Hamid (Adam Bessa), though initially consumed by vengeance, is wise enough to make choices that allow him to cling to the possibility of a ‘normal’ life.

As merciless as it is hard-hitting, Ghost Trail offers a searing portrait of political trauma and the tangled drive for retribution. Its moral complexities, coupled with sharp storytelling and Bessa’s outstanding performance, make it compulsively watchable. Eschewing physical violence in favor of mounting psychological tension, this debut signals the arrival of a filmmaker discovering his power.

Grand Tour (2025)

Direction: Miguel Gomes
Country: Portugal / other

A loving tribute to silent dramas and classic historical adventures, Grand Tour—filmed in breathtaking black-and-whit—is a art-house triumph co-written and directed by Miguel Gomes, the visionary behind Tabu (2012), Arabian Nights (2015), and The Tsugua Diaries (2021). Evoking the spirit of Murnau and Pabst, while channeling Herzog’s Fitzcarraldo and elements of Von Sternberg and Mizoguchi, the film thrives on the cultural richness of its settings, imbued with an underground charisma and an enigmatic touch.

Inspired by a passage from William Somerset Maugham’s 1930 travel memoir The Gentleman in the Parlour, the story unfolds in 1918, following Edward Abbot (Gonçalo Waddington), a restless bohemian and possible spy stationed in Rangoon. His determined fiancée, Molly Singleton (Crista Alfaiate), sets out on a journey across Asia in pursuit of him. While he wants freedom, she wants marriage.

As comprehensive and lucid as a tone poem, Grand Tour is a dreamlike, tragicomic odyssey—a lavish production in which every frame pulses with expressiveness and dramatic force. Pushing intuition to its limits, Gomes liberates himself from the conventions of historical reconstruction. The result is a hybrid of experimental cinema, documentary, and fiction, through which he explores the wavering contours of human behavior with poetic clarity. His mastery of script, camera, and performance direction is striking throughout.

With just a bit more emotional depth and heightened tension, the film could have soared even higher. Still, Grand Tour exercises a powerful grip and stands as a strong recommendation.

On Becoming a Guinea Fowl (2025)

Direction: Rungano Nyoni
Country: Zambia / UK / other

In Zambian Rungano Nyoni’s On Becoming a Guinea Fowl, characters move through a world marred by sexual abuse, trauma, and an infuriating societal passivity. Nyoni, who gained international acclaim with I Am Not a Witch (2017), also penned the script, centering the story on Shula (Susan Chardy), a fragile and apparently cold middle-class woman who shows no grief when she discovers her uncle’s body lying in the street. 

This moving, quietly furious drama, laced with moments of dark humor, gathers powerful elements to present a stirring call for a more just and self-aware Africa. It offers a compelling lens through which to examine Zambian traditions, cultural attitudes, and widespread indifference to issues like statutory rape and systemic sexism. Haunting and unsettling, the narrative’s ending may initially feel unresolved, yet compassion weaves subtly through the film. The emotionally fractured Shula is likened to a guinea fowl—an alert, talkative African bird known for warning others of lurking danger.

Tonally assured throughout, On Becoming a Guinea Fowl delivers a piercing, unflinching portrait of a family in desperate need of healing. Its ethos hits hard, and Nyoni deserves high praise for tackling such a difficult subject with discernment and sensitivity.

Girls Will Be Girls (2024)

Direction: Shuchi Talati
Country: India / France 

Sixteen-year-old Mira (Preeti Panigrahi) leads the life of a model student at an elite boarding school in northern India. Unexpectedly, her mother, Anila (Kani Kusruti), develops an unsettling fascination with Mira’s charismatic classmate and first boyfriend, Sri (Kesav Binoy Kiron), who is unusually mature for his age.

Girls Will Be Girls is a bold, emotionally layered coming-of-age drama that weaves together themes of family, education, and patriarchal influence in India. Shuchi Talati’s feature debut is firmly anchored in its cultural context, distinguished by a sharp script and an impeccably cast ensemble. The story unfolds with quiet force, grounded in authenticity, with Panigrahi delivering a standout performance. Talati emerges as a rare director unafraid to linger in a moment, allowing scenes to breathe. Her film is filled with contemplation, tension, and discovery, gliding between the social and the intimate with a graceful, unhurried style that avoids sentimentality.

Although not reinventing the coming-of-age genre, Talati handles the complexities of female sexuality with remarkable nuance, and Girls Will Be Girls explores far more than the usual tropes of teenage love. The tender thrill of first romance is present, but it’s painfully complicated by a forbidden familial intrusion, turning sweetness into something far more fraught and haunting.

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.

Bird (2024)

Direction: Andrea Arnold
Country: UK 

Bird—a strange, captivating, and sensory coming-of-age drama—marks an extraordinary return for Andrea Arnold, one of the most brilliant independent filmmakers of our time. Known for her raw, direct, and original filmmaking style, Arnold’s work occasionally leans heavily on handheld camera techniques, which may polarize some viewers, but here they deliver stunning results. Her approach thrives in crafting complex environments filled with genuine, idiosyncratic characters.

The film follows a 12-year-old girl, played by the astonishing Nykiya Adams, who delivers a breakout performance as the young protagonist navigating life in a struggling neighborhood in Kent, Southeast England. Bird is not only a testament to Arnold’s command of storytelling but also a deeply satisfying emotional journey. It surprises with its quality and rewards the trust it asks of its audience, presenting a distinct aesthetic that marks another bold step in Arnold’s celebrated career rooted in social realism. This time, however, Arnold enriches the narrative with touches of fantasy that intrigue and captivate. 

The instincts are primitive and euphoric but the humanity is radiant and comforting, infused with a surprising sweetness in moments where harshness might have been expected. If Arnold’s aim was to push buttons and make us feel the environment and the emotions surrounding the protagonist, she's succeeded wildly. Her high-flying fable and observant social chronicle never loses track of its characters and their humanity. Even in its hauntingly poetic and minimalist surrealist interludes, Bird soars with both primal urgency and a tender heart, transcending the hardships it portrays.

Confirmed as an accomplished director of great gifts and passions, Arnold makes the most of her incredible cast of non-professional actors - the exceptions are Barry Keoghan (The Killing of a Sacred Deer, 2017; Dunkirk, 2017; The Banshees of Inisherin, 2022) and Franz Rogowski (Transit, 2018; Great Freedom, 2021; Passages, 2023), who add depth and nuance to the ensemble. The film’s diligent pacing, electrifying British post-punk soundtrack, and dynamic camera work amplify the protagonist’s sense of anxiety and disorientation, making Bird a visceral, radiant, and highly rewarding experience.

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.

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.

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.

My Favourite Cake (2024)

Direction: Maryam Moghaddam, Behtash Sanaeeha
Country: Iran 

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

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

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

The Seed of the Sacred Fig (2024)

Direction: Mohammad Rasoulof
Country: Iran

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

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

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

Crossing (2024)

Direction: Levan Akin
Country: Georgia / Turkey / other

Crossing is a poignant drama about identity, regret, and resilience. For his fourth feature, director Levan Akin (And Then We Danced, 2019) draws inspiration from a real-life story—a Georgian grandfather who chose to support his transgender granddaughter, defying the rest of the family. The film, rooted in heartbreak and sadness, offers us a different perspective though, presenting a heartfelt plea for acceptance while offering a narrative grounded in love and hope. 

Akin, of Georgian origin but born in Sweden, shapes his characters with remarkable accuracy and decisive detail. Surprisingly centered and measured, he avoids exploiting the emotional weight of the story or shying away from its depth, offering valuable insight into the challenges faced by trans communities. 
The storyline revolves around Lia (Mzia Arabuli), a retired history teacher from Batumi, Georgia, who embarks on a journey to Istanbul in search of her long-lost niece. Her companionship with a young man, Anchi (Lucas Kankava), who is also searching for his mother and a better life, makes the trip feel less lonely. 

Crossing is crafted with some rough, heartbreaking moments but also with a level of intimacy that makes it engrossing and profound. The lead performances are phenomenal, with the chemistry between Arabuli and Kankava imbuing the narrative with authenticity. Together, they elevate the film into powerful, earthy drama likely to captivate hearts and minds.

Rebel Ridge (2024)

Direction: Jeremy Saulnier
Country: USA

Rebel Ridge is a gripping crime thriller written and directed by Jeremy Saulnier, who, despite exploring new tones, remains true to the spirit of his filmmaking style. In his fifth directorial effort, Saulnier delivers a taut, intense film that keeps viewers hooked from start to finish, brimming with a sticky, vicious atmosphere and a relentless sense of unease. At its core, the film tells the story of a man doing what’s right in the face of injustice. 

The director has an ace up his sleeve in the form of Aaron Pierre, who, making use of an impressive restraint, gives a convincing performance as Terry Richmond, a former Marine who tries to bail his cousin out of jail in a broke, small American town where police corruption reigns. To confront the provocations of Chief Sandy Burnne (Don Johnson) and his racist crew, Richmond, who silently boasts a particular set of skills, welcomes the assistance of a young lawyer (AnnaSophia Robb) marked by a troubled past. 

Though the script may not dive deep into complex layers, Pierre’s portrayal of a decent man, disrespected and pushed to his limits, lends emotional weight and authenticity to the film. Saulnier, known for the brutality and darkness of Blue Ruin (2013) and Green Room (2015), opts for a more measured approach here. He crafts a thrilling ride filled with suspense, permanent tension, and tight action sequences. Rebel Ridge moves with confidence, combining raw intensity with a streamlined narrative that evokes a modern Rambo. It’s a well-executed crime thriller that positions Saulnier as a rising master of the genre, offering a dynamite-packed summer hit.

Didi (2024)

Direction: Sean Wang
Country: USA

Didi is a thoughtful and heartwarming coming-of-age comedy-drama that offers a slice of Asian-American life, marking the debut of Taiwanese filmmaker Sean Wang, who also wrote and produced. The film draws on his personal experiences growing up in the Bay Area, delivering an authentic and emotionally rich narrative.

Set in Fremont, California, the story follows 13-year-old Chris (Izaac Wang) who grapples with family tensions, the awkwardness and insecurities of first love, and guilt over past mischief. At the same time, he navigates the complexities of friendship, discovering a passion for videography and skateboarding. An introspective posture mixed with inopportune words creates challenges in expressing his true self.

Chris’ struggles are presented with realism and relatability, immersing viewers in the embarrassment and cringe-worthy moments of adolescence as he tries to carve out his own identity. Didi delivers both funny laughs and meaningful moments. It’s an understatedly charming little movie that hits the mark; a debut with a real heart that radiates vulnerability, resilience, and authenticity, offering plenty of pleasurable rewards.

The performances are the heart of this observant film bolstered by a sharp-witted script that explores and examines teenage angst and frustration. Wang is certainly someone with a promising future, layering all the dramatic elements with poise and weaving together humor and drama into an engaging story that feels both personal and universal. The competent cast, which includes Joan Chen as Chris’ single mother, gives us reasons to care about the characters in this gratifying contribution to on-screen cross-cultural teen environment.

The Goldman Case (2024)

Direction: Cédric Kahn
Country: France

The Goldman Case is an insightful, raw, and nervy courtroom drama set in the mid-‘70s that fascinates as much for its portrayal of an era as for its exploration of justice. Directed by Cédric Kahn (Red Lights, 2004; The Prayer, 2018), it’s a semi-autobiographical work based on the second trial of Pierre Goldman (masterfully portrayed by Arieh Worthalter), a far-left militant accused of four armed robberies and the murder of two women. Facing life imprisonment, Goldman is defended by a passionate young lawyer, Georges Kiejman (Arthur Harari), who, like him, is a Polish Jew born in France to a modest background. The accused concedes to the label of “gangster” but vehemently denies being a murderer, asserting his innocence in the ambiguous killings. 

The film begins discreetly, almost academically, but gradually imposes its rigor and style. Goldman’s case hinges on a shaky alibi, conflicting witnesses, and affecting testimonies from his girlfriend and father. Justice is explored in its very human giddiness when no scientific proof comes to its rescue, and aspects such as racism, anti-Semitism, xenophobic police, and more, emerge in its complex societal forms. 

Kahn collaborated with Nathalie Hertzberg in the screenplay, choosing to fictionalize elements by blending Goldman’s two trials and drawing from his book. Yet, the film is so well directed and intensely acted that it's hard not to take it. It values speech without grandiloquence and avoids dramatic flourishes while exposing the fragility of truth and the difficulty of judging. It's a pleasure to get wrapped up in such a thoughtfully conceived and stirringly executed reconstruction, one delivered with gripping rhythm, fervent passion, and a clear form. With The Goldman Case, Kahn signs his most memorable film to date.

Janet Planet (2024)

Direction: Annie Baker
Country: USA

The feature debut of filmmaker Annie Baker, Janet Planet, is an absorbing drama that deserves your attention. Set in rural Massachusetts in 1991, the film poignantly captures the emotional complexities and uncertainty of a volatile single mother (Julianne Nicholson), who works as an acupuncturist, and her lonely, highly dependent 11-year-old daughter (Zoe Ziegler). Their lives are momentarily altered by the arrival of three different people, leading to a story that is both patiently observant and ultimately caustic. The film provides an unnervingly naturalistic look at a teen's life, anchored by convincing central performances, with the potent chemistry between the mother and daughter being crucial to the film’s success.

Janet Planet earns its dramatic moments through strong writing, unexpected outcomes, and a nice restraint. The film effectively contrasts the maturity found in some of the conversations between mother and daughter with the imbalance of some of the mother’s choices. Despite being presented in an unhurried, episodic manner, the nearly two-hour runtime never feels sluggish. The screenplay's subtlety and quality stand out, maintaining a steady yet delightfully quirky tone throughout. 

It’s safe to say that Baker has a promising career as a filmmaker and storyteller ahead of her, as all the elements are assembled with prudent sincerity, building a story that is both touching and deeply affecting. Janet Planet is a rare gem, so earnest in its approach that it resonates with a poignant, almost painful, honesty.