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The Mastermind | Review

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Alpha | Review

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New Projects by Emmanuelle Bercot, Christophe Honoré, Philippe Faucon & Charlotte Le Bon in the Works

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Lens Crafters: Marie Rosselet-Ruiz Filming ‘L’une des leurs’ with Céleste Brunnquell

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Blue Moon | Review

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It Was Just an Accident | Review

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2025 European Film Awards: Tereza Nvotová, Urška Djukić, Mihai Mincan, Laura Carreira & Murat Fıratoğlu Make Shortlist

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The Safeword Is…: Isabella Eklöf Launches DOGMA 25 with Bold BDSM Drama ‘MR. NAWASHI’

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Rodrigo Sorogoyen’s ‘The Beloved’ (El ser querido) – Everything We Know So Far …

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If I Had Legs I’d Kick You | Review

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Interview: Mihai Mincan – Milk Teeth (Dinți de lapte)

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The Hyperboreans | Review

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Interview: Carolina Cavalli – The Kidnapping of Arabella

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2025 Critics’ Week Next Step II Programme: Felipe Galvez, Graham Foy, Cristele Alves Meira, Mikko Myllylahti & Michael Borodin Selected

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2025 Prix IRIS: Rankin’s ‘Universal Language’ Leads “Quebec Oscar” Noms with 17; Lesage’s ‘Comme le feu’ Lands 8

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50th Résidence du Festival de Cannes: Federico Luis & Maksym Nakonechnyi Among the Half Dozen Invites

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The Ice Tower (La Tour de Glace) | Review

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2025 American Film Festival – US in Progress: Talia Lugacy, Dash Shaw & Suzi Yoonessi Selected

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Fastvold Fast Track: Searchlight Clothed with ‘The Testament of Ann Lee’ Beneath Her Feet

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Beauty in the Breakdown: Sachs Directs Rami Malek & Rebecca Hall in 80s New York Musical ‘The Man I Love’

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