Yikes. Just yikes.

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.  

The Deep Dark just doesn’t quite dig deep enough, uncovering a hole that's barely big enough to bury itself in.

There is a glimmer of hope with the upcoming Australian release of its sequel in June, The Three Musketeers: Milady, which may shed some light on the lacklustre narrative decisions in Part One, but as it stands D’Artagnan’s best is too fleeting, and settles itself far into the saturated market of generic blockbusters.

If decapitated heads, Tumblr-edit-worthy quotations about the human condition, traditional Slavic folklore, and harrowing cinematography are your thing, then look no further than Le Vourdoulak.

The Taste of Things serves up a complicated feast for the eyes, intrinsically tying its romanticisation of cooking as a love language to the identities and passions of its two leads.

Being able to see such a beautiful restoration on the big screen is worth the price of admission alone, and I could not recommend The Conformist more.

Mami Wata truly has the ability to spellbind, yet keeps its feet rooted in a deeply nuanced point of interest: an ever-changing reckoning with modernity.

It’s a light summer breeze of a film clearly aimed to bring joy to both parents and kids whilst still telling a compelling story, so some kind of deep underlying metaphor is unnecessary. Just go have fun watching a cartoon dog and a robot roller-skate to Earth, Wind & Fire! Your brain deserves a break.

Behind the flashing neon lights, Mars Express’ messy and complicated core is a delight to unpack and crucially, is without the comfort of easy answers. While it’s not exactly reinventing the wheel, its entangled approach to familiar concepts positions it uniquely, and is well worth the price of admission.

Hood Witch is redolent of self-importance, so deeply invested in its own world that it barely pauses to consider the viewer’s ability not to care about its mediocre characters and plot delivery.

A patchwork quilt of genres, Alice Rohrwacher’s La Chimera is a grimy and charismatic fairytale, and Josh O’Connor is its beating heart. 

Painting a portrait of a marriage in decline, a child irrevocably changed, and a woman in freefall, Anatomy vivisects the ripple effect of its victim’s demise, familial wounds spilling open to reveal grisly entrails for all to see.

If you like the French, the death of sex offenders, black-and-white throwback scenes, and subtle manipulation then Mon Crime is the film for you. 

For those of you who are pro lesbian rights and pro lesbian wrongs, The Origin of Evil is the perfect Friday night French flick with all the lesbians, major plot twists, and tea you need!

From the producers behind The Worst Person In the World, comes one of the best features in the world… about the ACTUAL worst person in the world.

Few things in cinema are as certain as the Liam Neeson action movies released at least once or twice a year for the past decade and a half.

The 2023 Winner of the Online Film Critics Society Awards for the Best Non-U.S. Release, it’s clear that Everybody Loves Jeanne is winning hearts around the world!

It’s Raining in the House explores the story of two Belgian teenagers who live in poverty, as they navigate the summer with an absent mother and a proclivity for getting themselves into trouble.

Passages is a pretty film that entertains, may make you tear up, and could make you feel ashamed just by watching Tomas run around as he does.