Bridget Savage Cole and Danielle Krudy’s coastal and crusty noir Blow the Man Down isn’t just a strong feature debut for the filmmaking tandem, but also a wildly entertaining cult classic in the making.
Easy Land, the first feature from Serbian-Canadian filmmaker Sanja Zivkovic, is a balanced, reserved, but emotionally resonant look at the modern immigrant experience, mental illness, and mother-daughter bonds.
Parasite is a brilliant, biting, chilling, and darkly hilarious bit of social commentary from Korean master filmmaker Bong Joon-ho that’s as entertaining as it is unsettling.
Veteran Italian filmmaker Marco Bellocchio’s epic gangster drama The Traitor takes a conventional mobster narrative, but tells it with a great deal of technical and procedural complexity.
If esteemed French filmmaker Éric Rohmer were still alive today, and he decided to make a movie about modern dude-bros, the result might look something like The Climb, which is the most European feeling American comedy in quite some time.
The Invisible Life of Eurídice Gusmão, which won Un Certain Regard at Cannes earlier this year, is a vibrant, socially relevant, and richly told story of sisterhood ripped apart by men who see women as nothing more than baby making objects.
White Lie, the latest and most straightforward effort from Canadian filmmakers Calvin Thomas and Yonah Lewis, is an emotionally devastating look at a young woman who’s learning the hard way that the deception of others is a road that could lead to ruin.
An inventive, darkly comedic, and assuredly entertaining neo-noir, Romanian filmmaker Corneliu Porumboiu’s The Whistlers takes an unusual concept and weaves it into one of the most memorable and satisfying mysteries of the year.
The deeply personal, painfully honest, and subtly witty Pain and Glory finds writer-director Pedro Almodóvar and leading man Antonio Banderas delivering some of their career best work.
Black Conflux is the type of film that you’ll keep thinking about long after you’ve left the theatre.