Kate Beecroft’s docu-fiction portrait of the “New West” resists tidy categorisation from its first minutes: we have country twang quickly matched with hip-hop beat. The film – like the Zimiga family at its centre – refuses to sit in a single box, and that’s the point.
Weapons is the follow-up feature from Barbarian director Zach Cregger, and it illustrates pretty clearly that he’s here to stay. To put it bluntly, Weapons is a fascinating film.
Touch Me is an unapologetically strange midnight horror that uses its offbeat premise to probe trauma, addiction, and the bonds of codependency. It’s a midnight-movie in every sense...
The Well is a post-apocalyptic thriller that maintains a tight scope with a focus on each character as an individual.
Fantasia Festival 2025 celebrates its 29th edition this July in the heart of Montreal, running from July 17th to August 3rd across Concordia Hall, JA de Sève, and Cinéma du Musée.
Sitting down with Ben Petrie is always a pleasure, and he and his partner, Grace Glowicki, have quickly become fixtures of Canada’s indie film scene. Both are quick to laugh and, above all, are genuinely invested in each other’s process.
We are roughly halfway through 2025, which means that it is time to have a look at some of the best films of the year so far.
Celine Song’s Materialists is a formally striking, carefully constructed examination of intimacy in the age of aspiration — a film that repackages the romantic comedy as moral provocation, but often undercuts its own message with over-polished aesthetics and half-completed ideas.
The 2025 Tribeca Film Festival returns to New York City from June 4–15, 2025, and this top 10 list provides a glance at some of the top films playing at this years festival.
Bring Her Back is one of the most unnerving films to emerge from the genre in recent memory. Directed by twin brothers Danny Philippou and Michael Philippou, it’s a follow-up to their breakout debut Talk to Me, and confirms that their jump from YouTube chaos to cinematic precision isn’t a fluke.