Stephen Soderbergh […], makes a return to experimental filmmaking with Presence: a modernised ghost story serving as a deliberate subversion of the genre itself.

Though Queer has all the ingredients of a great drama, its delivery misses the mark. 

If you enjoy thoughtful films and would like to explore a movie that doesn’t follow the “rules”, or give everything to you on a silver platter, this may be the perfect film for you as you escape the hot summer weather with a drink and an ice cream in an air-conditioned theatre.

Reijn suggests that pleasure has an interstitial quality, making it neither good nor evil, only a key part of life.

Nothing in the film really ‘fails’, per se, and if there were a universal, objective checklist of things that make a Good Movie–there isn’t, by the way–The Brutalist meets them all.

We Live In Time is a contemplative and slow-burning exploration of love, time, grief, and the human condition.

Anora is a technical masterpiece - Baker’s approach to casting leads the audience to believe they’re watching a documentary instead of a drama.

In Parthenope (2024), Paolo Sorrentino explores youth, beauty, and the fleeting nature of desire, in an homage to the intoxicating allure of the Mediterranean coast, and living in the shadow of the male gaze.

This film proves that the rich cinematic style of Almodóvar transcends all kinds of language barriers. 

Under Streetlights is an appealing feel-good film from Australia’s outback core, and a triumph of independent Aussie filmmaking.

Out of Season is a strongly executed film that delivers a plot constructed from a reality of regret, offering strong performances and beautiful cinematography.

Ronan never fails to execute a stellar performance, and The Outrun is no exception.

My Favourite Cake is a devastatingly bittersweet film about late-life romance in Tehran. 

Agnieszka Holland’s film Green Border (2023) is a harrowing but captivating story of  the journey of a family of Syrian refugees, as they travel towards the European Union.

Rise, musical theatre kids!

Gladiator II is an ambitious film in desperate need of a shorter run time, but elements of creativity shine through.

Goodrich may not be particularly groundbreaking, and there are definitely other slightly better movies out there like it. However, it’s so endearing that it is impossible not to be charmed, with Keaton being the pièce de résistance.

As the saying goes, the journey is more important than the destination, which makes it a shame that Blitz feels more like a scrapbook of contrived wartime escapades. 

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.