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SXSW 2025 is packed with exciting debuts, but few films have been crafted with as much care as Satisfaction.
The Assessment marks the feature directorial debut of Fleur Fortuné, a sci-fi thriller that takes a coolly detached approach to dystopian storytelling.
I’m Still Here has quietly emerged as one of the year’s most remarkable finds – a film that faced an uphill climb but now stands firmly in the spotlight, and rightly so.
Every Best Picture Nominee Ranked | Oscars 2025 Oscar season is here, and with it comes the annual tradition of ranking every Best Picture nominee. Some of these films blew…
From my conversation with director Kyle Hausmann-Stokes, one thing became clear: My Dead Friend Zoe is more than just a movie. It’s an exploration of Hausmann-Stokes’ personal experiences as an Iraq War veteran and the post-traumatic pain and growth that can result. But, it isn’t only his story.
Oz Perkins, best known for The Blackcoat’s Daughter and Longlegs, returns with his newest film, The Monkey. Adapted from a Stephen King short story, it marks a clear stylistic and tonal shift from most of Perkins’ earlier work – enough so that it might just confirm his place among the best in genre filmmaking at this current moment.
Directed by Cole Webley and written by Robert Machoian, Omaha is one of the quiet standouts of this year’s Sundance Film Festival. It may be slight in its scope (and runtime), but that doesn't stop it from being emotionally devastating.
Atropia, the ambitious feature debut from Hailey Gates, has left the 2025 Sundance Film Festival with the Grand Jury Prize for U.S. Dramatic Feature. Still, the broader feelings about the project remain divided.
Eva Victor’s Sorry, Baby is a remarkable debut – a film that manages to be deeply unsettling while also ruthlessly funny.
Sook-Yin Lee and Chester Brown have a history unlike most exes: they "broke up" almost three decades ago, yet remain each other’s closest confidants. Chester took their story—detailing the end of their romantic relationship and his journey into paying for sex—and turned it into a graphic novel. Rather than being upset about having their private life on display, Sook-Yin found the book so compelling that she adapted it into a feature film.