Subverting expectations and blending genres, Your Monster is an endearing love letter to the ones who’ve had their hearts broken, and gives them permission to embrace their fury. 

Timestalker tells the story of a woman named Agnes who keeps falling in love with the wrong man in several different time periods, after being continuously reincarnated.

Colleen Hoover’s controversial smash hit novel, It Ends With Us, has just hit theatres in all its soapy Hallmark glory.

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.

Guadagnino has served up a smash hit, and it’s up to audiences to decide what to do now that the ball is in their court.

Glass subverted my expectations repeatedly through her pairing of lesbians and gym bros, the supernatural creeping into the frame, and an unexpected experimental conclusion to the movie. Love Lies Bleeding is a bloody good thriller!

World cinema can bring us a film like this: a tiny love story, from a country you may never visit, dressed up like an anti-capitalist screed.

Liberating in all the right ways, Poor Things is a heartwarming oddball of a film, matching the gorgeous with the grotesque, showing that even in life's most dire circumstances there is still so much joy to be found.

Written and directed by Celine Song, Past Lives centres on Nora (Greta Lee) and Hae Sung (Teo Yoo), former childhood sweethearts who reunite after 24 years.

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.

For all of its idiosyncrasies, Asteroid City is an out-of-this-world homerun for its director, ranking up there with Wes' very best.

This film, meditative and delicate in its portrayal of two queer men in a muslim country, is important for people being pushed to the margins by ideology that is outdated and homophobic and is therefore an important moment in African cinema, not to be missed.

Despite Ward and Colman’s impressive performances, and some beautiful Roger Deakins cinematography, Empire of Light is unfortunately weighed down by a messy screenplay that can’t untangle itself before the credits.

We Are Still Here is aptly described by the saying “the whole is greater than the sum of its parts,” as it doesn’t particularly stand out for its technical or creative proficiencies, but rather because the message it manages is profound.

While there is much to talk about for this film’s context, Nakahira keeps the narrative in focus with contemporary editing and exciting cinematography so that Crazed Fruit can shine.

A grim look at international relations through the lens of a hostile Nicaragua, Claire Denis’ latest ‘romantic thriller’ Stars at Noon is unfortunately lacking in both romance and thrills.

Playing like an emotional middle ground between Badlands and the Twilight saga, Luca Guadagnino's new Timothee Chalamet-starrer Bones and All is a romantic cannibal road movie, presenting a tale of both the impossibility and inevitability of love; how even in the bleakest of circumstances, when we least expect, or even want it, romance can blossom like a weed in the desert.

While the plot is largely predictable, following the tropes and clichés of dozens of films before it, Cudi’s presence firmly sells this product as something of his own.

A Taste of Hunger’s respect to the fine art of good grub is exquisite.

Three Thousand Years of Longing is gearing to be one of the best films of the year in a sensual, lovely, fantastical, and provocative story, with a cast and crew at the top of their game.