In theatres 8th of August| @Scala
Mortensen is playing with iconography here, so it’s less about that destination than the journey — and he finds the right, delicate, evocative note to conclude on and holds it exactly as long as he should. “The Dead Don’t Hurt” isn’t your typical revenge Western, but audiences willing to stick with it will find a picture rendered with grace, patience, and artistry
Jason Bailey in The Playlist
In theatres 8th of August| @Filmpalast
Terrifying in the abstract even as it grows increasingly absurd to watch, “Longlegs” slinks its way into that liminal space between childhood nightmares and grown-up practicalities with the same precision that it splits the difference between serial killer procedurals and supernatural psychodramas (let’s say “The Silence of the Lambs” and Kiyoshi Kurosawa’s “Cure”).
David Ehrlich in IndieWire
In theatres 1st of August| @tba
So entsteht ein vielschichtiges Porträt von Identität, das die echte Narges Kalhor als Kern hat, von da aus aber jeden Aspekt ihrer Identität in eine universelle Dimension spannt. Migrantinsein, Künstlerinsein, Frausein. Es ist ein Film, der mit vielen dunklen Kapiteln von persönlichem wie kollektivem Trauma arbeitet, gleichwohl über viel Witz verfügt, gerade im Kontakt mit den Behörden und dem Loriot-artigen Therapeuten.
Joris
In theatres 1st of August| @Abaton
Leila’s success is a problem for the Iranian government since it means that she may go on to face an Israeli fighter in the final. The regime sees it as humiliating for Iran to potentially lose to Israel, so decides to eliminate any possibility of this happening by ordering Leila to either withdraw under a pretext, or deliberately throw a less politically fraught match, before reaching that stage in the contest. This directive initially comes in the form of a terse phone-call with coach Maryam, but as Leila ignores this pressure and progresses further in the tournament, descends to in-person threats against family members back in Iran.
Catherine Bray in Variety
In theatres 11th of July| @Scala
As well as everything else, this wonderfully sweet and funny film will contribute to the debate about whether repressive regimes are the nursery of artistic greatness. The Iranian government has prevented the film’s two directors, Maryam Moghaddam and Behtash Sanaeeha, from travelling to Berlin to attend their own premiere; six months ago, their production offices were raided and computers and hard drives confiscated. But, fortunately, the police couldn’t find the film itself, whose gentle humanity is a compelling rebuke to this fatuous, clumsy repression.
Peter Bradshaw in The Guardian
In theatres 4th of July| @Scala
Lanthimos’s unwavering, matter-of-fact style embodies the unquestioning nature of his characters. And while the internal logic of his controlled worlds feels ironclad, it never really is. The filmmaker’s precision is a ruse, a magic trick designed to make us think one thing while quietly building a case for its opposite: the reality that none of this makes any sense.
Bilge Ebiri in New York Magazine
In theatres 4th of July| @Abaton
If nothing else, the dazzling finale feels like a hyperviolent ‘80s period piece tailor-made For the Girls. It delivers some of the series’ most extreme kills as well as its best uses of glittery costumes, bloody testicles, and feminist subversion for a whirlwind joy ride that doubles as a societal lambasting.
Alison Foreman in IndieWire
In theatres 4th of July| @Abaton
That Glen Powell is a gem of an actor is nothing new, but twenty years into his career, and after stealing the show in a bunch of films and series, we can all finally stop praying for him to get a leading role worthy of his talents.
Hit Man finds both comedy and refuge in the elusive nature of identity and acts as a balm in our confusingly performative, deeply unsexy times.
Elena Lazic in The Playlist
In theatres 13th of June| @tba
Torres peels back layers of the immigrant story in something packaged as entertainment. It may appear whimsical, but you don’t need to dig too deep beneath the surface to find universal emotions underneath.
Matthew Monagle in The Playlist
In theatres 20th of June| @Abaton
What resonates beyond the brawls and blood is a profound affection for the people onscreen — those grace notes provided by a fine cast, with Jodie Comer and Tom Hardy stirring undercurrents that are particularly affecting precisely because they’re never explicitly examined or explained.
Sheri Linden in The Hollywood Reporter
