Category: Upcoming

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

In theatres 6th of June| @Abaton

Cinematographer Rasmus Videbæk’s widescreen compositions give imposing weight to the rugged landscape; Jette Lehmann’s production design points up the contrast between the humble structures built on the desolate heath and the pompous grandeur of De Schinkel’s residence, Hald Manor; and Dan Romer’s robust orchestral score fuels the film’s epic sweep. The Promised Land is a terrific story driven by skillful writing and strong performances. There’s an art to bringing vitality and modernity to historical drama, and Arcel shows a firm grasp of it.

David Rooney in The Hollywood Reporter

In theatres 23rd of May | @Savoy

Als die Welt untergeht, wird die junge Furiosa vom Grünen Ort der vielen Mütter entführt und fällt in die Hände einer großen Bikerhorde unter der Führung des Warlords Dementus. Bei ihrem Streifzug durch das Ödland stoßen sie auf die Zitadelle, die vom Immortan Joe beherrscht wird. Während die beiden Tyrannen um die Vorherrschaft kämpfen, muss Furiosa viele Prüfungen überstehen, während sie die Mittel zusammenstellt, um ihren Weg nach Hause zu finden.

Warner Bros.

Streamable on MUBI 3rd of May | @JFK-Plaza

Noch mehr als vorher geht es diesmal in die Welt von Film und Medien. Angela hält sich mit Gelegenheitsarbeiten in diesem Business über Wasser und ist mehr oder weniger das Mädchen für alles. Ein österreichisches Unternehmen dreht einen Imagefilm für seinen rumänischen Zweig und sie soll nun invalide Opfer der rabiaten Sparpolitik finden, damit diese für einen kleinen Obolus vor der Kamera ihre Kollegen zur größeren Vorsicht ermahnen. Die Devise: Immer Helme tragen! Egal woran man erwischt wurde. Angela nimmt den Zynismus ihres Jobs hin und entlädt die Aggressionen von Ausbeuterei und städtischem Stau in viralen TikToks, in denen sie als Andrew-Tate-Verschnitt vom hypermaskulin-asozialen Lifestyle eines Erfolg-Machos erzählt.

Joris Coerdt on Letterboxd