In theaters 17th of October
Some will argue that Stan’s performance in the central role is a touch too likeable, but the actor does an excellent job, going beyond impersonation to capture the essence of the man. In a character study of a public figure both widely parodied and unwittingly self-parodying, Stan gives us a more nuanced take on what makes him tick.
David Rooney in The Hollywood Reporter
In theaters 31st of October
Splenetically hilarious for more than two hours before reality catches up with it in the film’s unforgettable final scene, “Anora” has next to nothing to do with romance, and almost everything to do with the kind of working-class heartache that a modern Hollywood studio would never even try to get right.
David Ehrlich in IndieWire
In theaters 10th of October
“The Sparrow in the Chimney” may be a crowded work, sparking and seizing with nervous energy, but there’s a mutually enhancing tension between the rough-and-tumble of the drama and the refinement of the filmmaking.
Less elusive and more heated than their first two features, this darkly engrossing psychodrama of pent-up domestic tensions should be an arthouse breakthrough for Switzerland’s gifted Zürcher brothers.
Guy Lodge in Variety
In theaters 24th of October
The Room Next Door, as driven by the scalding humanity of Swinton’s performance, lifts you up and delivers a catharsis. The movie is all about death, yet in the unblinking honesty with which it confronts that subject, it’s powerfully on the side of life.
Owen Gleibermann in Variety
In theaters 3rd of October
Though it ends up as strident, laborious and often flat-out tedious as the first film, there’s an improvement
Peter Brdshaw in The Guardian
In theaters 24th of October
Dahomey begins where Statues Also Die ended, wondering what remains of our identities when the things those cling onto suddenly disappear––then resurface from oblivion. To this, Diop offers no clear answers. But in the heart-shaking passion of that university debate, in those students’ resolute commitment to reappropriate their own narratives, she finds something rarer still: a snapshot of a generation for whom this isn’t just the story of a restitution. It’s a resurrection.
Leonardo Goi in The Film Stage
In theatres 10th of October
The film’s true power stems from and speaks to our specifically present condition as people beset on all sides by the fears of our own imagination. By the trauma of something that already happened, or the terror of something that might.
David Ehrlich in IndieWire
Streaming on Netflix
What’s most remarkable about His Three Daughters aren’t the performances. As you’d suspect, Coon, Moss, and Lyonne complement each other perfectly (although we should note this is without question the best work of Lyonne’s career). It’s the fact that Jacobs and cinematographer Sam Levy have crafted a drama that takes place almost entirely in one enclosed space and somehow avoided the dreaded claustrophobic aesthetic that makes one feel like they are watching a filmed play.
Gregory Ellwood in The Playlist
In theatres 26th of September
With “Megalopolis,” he crams 85 years worth of artistic reverence and romantic love into a clunky, garish, and transcendently sincere manifesto about the role of an artist at the end of an empire. It doesn’t just speak to Coppola’s philosophy, it embodies it to its bones. To quote one of the sharper non-sequiturs from a script that’s swimming in them: “When we leap into the unknown, we prove that we are free.”
David Ehrlich in IndieWire
In theatres 19th of September
An immensely, unstoppably, ecstatically demented fairy tale about female self-hatred, Coralie Fargeat’s “The Substance” will stop at nothing — and I mean nothing — to explode the ruthless beauty standards that society has inflicted upon women for thousands of years, a burden this camp-adjacent instant classic aspires to cast off with some of the most spectacularly disgusting body horror this side of “The Fly” or the final minutes of “Akira.”
David Ehrlich in IndieWire
