Eva Nathena’s debut feature film, Murderess, adapted from Alexandros Papadiamantis’s classic novel I Fonissa, offers a hauntingly raw portrayal of femicide, intergenerational trauma, and the weight of patriarchal societies in early 20th-century Greece.

Here unfortunately stands as an excessively shmaltzy affair incapable of capitalising on the potential of its intriguing premise.

Kneecap follows a fictionalised origin of the Irish rap group Kneecap, pioneered by brothers Liam Óg and Naoise Ó Hannaidh.

Memory is bleak and hopeful at the same time, anchored by two excellent performances and a tender approach that takes its subject matter seriously. It demands patience and won’t be for everybody, but succeeds nevertheless. 

Encapsulating the unpredictable freneticism which helped form the genesis of its namesake, Saturday Night offers a compelling, if imperfect, peek behind the veil which concealed the chaos.

It's interesting that for all the film's grappling with Arthur's identity crisis, Folie à Deux winds up having one of its own

Margherita Vicario’s directorial debut is a lively feature that sings with heartfelt moments and comedic witticisms alike, pulling audiences in for a story that is nothing short of glorious.

Prima Facie is a play that refuses to be taken at face value.

Drawing out the melancholic chaos of its cinematic counterpart, The Penguin’s premiere episode enables a seamless transition in format – offering a richly textured character study which hooks you from minute aught. 

If you like pretty Italian towns then you might find some enjoyment, but if you're looking for a compelling film I suggest you look elsewhere.

It's hard to say how the film will be received by audiences now, but it is sure to have an impact.

If you’re into Aussie battlers, beautiful Australian scenery, cute speedy dogs, and blatantly crying your heart out in public then Runt is the film for you. 

Yikes. Just yikes.

 I don’t know if I will ever get to watch Us and the Night again given its unique formatting and distribution, but it’s quite radically put my love of film into perspective.

Through the Summer of 1991 in rural Massachusetts, the unapologetic yet awkward 11-year-old Lacy (newcomer Zoe Ziegler) is entrenched in the captivating orbit of her mother Janet (Julianne Nicholson).

A quietly ambitious work sure to attract allegations of pretension, Raven Jackson swings big in All Dirt Roads Taste of Salt.

If there was ever a flick to skip the popcorn on, it’s this one. Coralie Fargeat’s latest film, The Substance (2024), is a stomach-churning concoction of body horror and comedy that makes for an insanely monstrous watch.  

I’m tempted to call this a modern Macbeth.

Memoir of a Snail is an absolute triumph, cementing Elliot as a visionary and one of the best in his field.

It’d be easy to label Abiding Nowhere as tranquil and meditative, as it certainly is, but I still see so much of Ming-liang’s earlier passion present in the form of this late-stage mellowness.