While this French New Wave-inspired film lacks significant stakes and surprises, getting a low-key Linklater period hangout movie is its own type of cinematic treat.

Author and Pop Culture Happy Hour podcaster Aisha Harris on the movies and movie experiences that have made her life sweeter.

Mayday Parade guitarist Brooks Betts on the movies that complement the band’s new album.

A brief Q&A about what they learned making their movie, their filmmaking superpower, and more.

French arthouse mainstay François Ozon plays it straight with his adaptation of the classic Albert Camus novel. But what works in a short philosophical text does not make an engaging film.

In this brief, mysterious drama, director Christian Petzold revisits many of the themes from his filmography while cutting back as much as possible.

12+1 questions with family filmmaking duo Toby Poser and John Adams about their latest indie horror film Mother of Flies, taking cues from nature, and more.

Particularly for a feature-length debut, Akinola Davies Jr.’s direction and script are impeccable, operating on so many levels from the personal to the political.

Here are 11 horror-comedy classics that are more than just laughs and blood splatter—and prove society itself is the punchline.

Winner of the Jury Prize at Cannes, Mascha Schilinski’s Sound of Falling treats family genealogy like a ghost story of inherited sense memories, trauma, and heartache.

Paolo Strippoli’s The Holy Boy is often quite original, packed with ideas and not afraid to cause discomfort as it raises questions about consent, community security, and how life cannot exist without pain.

In this delightful and entrancing directorial debut from frequent Sean Baker collaborator Shih-Ching Tsou, a financially insecure Taiwanese family navigate the ups and downs of running a noodle stand.

Guillermo del Toro’s dream project has been in the works for nearly two decades, which shows in its incredible craftsmanship. If only the story got the same attention.

Radu Jude’s follow-up to Do Not Expect Too Much from the End of the World is overkill in every way and equal parts boring and insane, yet also something you should watch at least part of.

The latest Adams family folk horror story is more focused on a dark, poetic tone than traditional scares, with its own cinematic language offering a unique dialect of contemporary horror.

Acceptance lead singer Jason Vena on the movies that complement the band’s new remastered album.

It’s odd how dry a documentary this is about the pioneering Afro-futurist jazz musician and band leader Sun Ra, a guy who claimed to be from Saturn.

A smaller, tighter chamber drama compared to some of his most recent works, Yorgos Lanthimos’ latest is a poignant addition to the recent wave of “late-stage capitalism” cinema.

Shot locally in Chicagoland, Nurzhamal Karamoldoeva’s narrative debut is an eye-opening journey into Chicago’s growing Kyrgyz immigrant community.

In Nia DaCosta’s remix of a classic Ibsen play, Tessa Thompson is deliciously wicked as the titular character throwing a Gatsby-level party of decadence and decay.