Romería [2025]

 Romería – Carla Simón’s delicate, melancholic and gorgeously sun-kissed third film was a nakedly autobiographical work from her. The Catalan director lost her parents to AIDS when she was six, grew up with her uncle and his family, and went on to study filmmaking. Her delicately realized alter-ego Marina (Llúcia Garcia) has a similar personal arc, and her haunting quest for her deceased parents – alongside reconciliations with her hazy memories of them – informed this deeply personal film. The striking 18-year-old protagonist, who intends to study film at university, needs to get recognized on her father’s death certificate to be eligible for scholarship, and hence travels to the coastal city of Vigo in the hopes of getting a notarized attestation from her paternal grandparents who she’s never met. There, over the course of five days, she meets uncles, aunts, nephews and nieces all of whom welcome her with a mix of warmth and curiosity; her seemingly genial grandfather attempts to “bribe” her with money that’ll allow her to pursue her studies without the need for scholarship and therefore the legal formalities; and her stern grandmother openly disapproves her presence. Armed with her mom’s diary that steers her “homecoming” and a digital camcorder frequently complementing her own eyes, she starts piecing together what really happened to her parents – who embodied Spain’s “lost generation” – through interactions with her newly found family, their oftentimes conflicting accounts, and an unsaid sense of shame surrounding their tragic backstories. Led by the wonderful Garcia and a lively cast, this visually sumptuous work reminded me of such recent films as Céline Sciamma’s Petite Maman, Charlotte Wells’ Aftersun, and in particular, Karim Aïnouz’s docu essay Mariner of the Mountains.

Director: Carla Simon

Genre: Drama/Film a Clef/Coming-of-Age/Autobiographical Cinema

Language: Spanish

Country: Spain

With Hasan in Gaza [2025]

 In 1989, during the 1^st Intifada, Palestinian filmmaker Kamal Aljafari – a teenager then – had befriended a fearless fellow inmate called Abdel Rahim upon being imprisoned. Twelve years later, during the 2^nd Intifada, Aljafari – he’d emigrated to Berlin by then and was still 2 years away from his debut short – returned to Gaza with a MiniDV camcorder and a guide named Hasan by his side, whose whereabouts remain unknown, in search of his lost friend. It would be another over two decades, as a ghastly genocide is being carried out with brazen impunity, that Aljafari – now with 5 feature-length films under his belt – recovered and strung together the found footage from 3 MiniDV tapes on roads, the sea, locales, people, destroyed homes and chance encounters, thereby providing a haunting and achingly intimate meditation on memory, oppression, loss, personal resistance, collective defiance, and the heartbreaking meaning of home for a Palestinian. Interspersed with lyrical Arab songs, the restrained images – of living under oppression, apartheid, surveillance, and daily violence – foreshadowed the devastation being wreaked upon Gaza. Recalling Eyal Sivan and Michel Khleifi’s magnificent docu essay Route 181: Fragments of a Journey in Israel-Palestine, this quietly melancholic road movie – bursting with understated vitality – captured a man enjoying his freedom after 8 years in jail; women on the edge due to incessant shelling; a wary young guy at a loss at the wanton destruction of homes; being warned of the risks of his camera getting mistaken for a gun by an overzealous military; people playing cards and enjoying family gatherings amidst the occupation; sights of a ravaged landscape from the car; and, most unforgettably, the infectious excitement among kids whenever they notice the friendly camera.

Director: Kamal Aljafari

Genre: Documentary/Essay Film/Road Movie

Language: Arabic

Country: Palestine

Put Your Soul on Your Hand and Walk [2025]

Mobile phones have made the world appear smaller than it actually is while also underlining the massive distances separating us; this remarkable film – a disillusioning tableau of a broken world, yet radiating with profound empathy and camaraderie – indelibly demonstrated this dichotomy. Iranian documentary filmmaker and activist Sepideh Farsi, living in exile in Paris since fleeing Tehran in 1984, and Palestinian photojournalist Fatima Hassouna, locked in Gaza City, were able to interact for a year and form a deep bond through video calls, allowing us to get a first-hand account of the horrors and the resilience, despite all three – Farsi, Fatima, and us – fundamentally unable to bridge the irreconcilable chasms, barrier and borders. The devastating state-backed genocide in Palestine has killed 250+ journalists, and Fatima’s death – a targeted missile, just as this docu was selected for screening at Cannes, wiped out her entire family to stop her from recording, archiving and bearing witness using her camera – would’ve been just another count on paper if not for this personal memorial and remembrance. Their seeming differences notwithstanding – Farsi is older, left-wing, atheist, feminist, cynical, was once a political prisoner, and now able to roam the world; Fatima was in her mid-20s, devout, filled with irrepressible hope despite the despair surrounding her, never able to explore her dreams and aspirations, and forever a doomed refugee in her own land – the two women engaged in candid conversations through patchy mobile networks, blockade and bombings. Two facets made this a particularly stirring and expansive ode to courage and resistance – Fatima’s contagious smile, in defiance of the deaths, food shortage and loss of loved ones; and her terrific street photographs that Farsi displayed at regular intervals. 

Director: Sepideh Farsi

Genre: Documentary/Diary Film/Essay Film/Epistolary Film/War

Language: English/Arabic

Country: Palestine/France

If I Had Legs I'd Kick You [2025]

 Writer-director Mary Bronstein’s wackily titled film If I Had Legs I’d Kick You – her first feature direction in 17 years which she shot over just 27 days, including two additional ones by trading her director’s fee – began on a dry note with Linda (Rose Byrne) grudgingly agreeing with her daughter’s remark that “Mommy is stretchable”. However, as physics teaches us, nothing is indefinitely stretchable, and an over-stretched object inevitably snaps. The woman is already simmering with nerve-racking anxieties and teetering on the edges, having to care for an overdependent daughter with a mysterious feeding problem that necessitates difficult medical arrangements, and do so helplessly alone due to a perennially absent husband who keeps alluding to conventional gender roles, while also managing her own job, dealing with a damaged apartment, and indefinite relocation to a shabby motel. As a result, it doesn’t take much for her to unravel, and which Byrne portrayed with aplomb. The movie was claustrophobic, tense and distressing, but it was also oftentimes darkly funny and borderline unhinged. Linda, despite being a spiralling trainwreck, is ironically a psychiatrist herself, who – further ironically – takes psychiatric help from her colleague (Conan O’Brien) with whom she shares a passive-aggressive relationship. Additionally, she must continuously engage with people who keep getting on her frazzled nerves – a supremely irritating motel receptionist, a pedantic parking guard, and a couple of overbearing patients, including a teenaged guy who’s physically besotted with her. The script, unfortunately, felt overloaded at times, a serial embodiment of Murphy’s Law, and tad heavy on metaphors; a lighter-footed approach might’ve better complemented the emotional battleground. This, was, nevertheless, a gusty work that courageously navigated through motherhood at its most strained.

Director: Mary Bronstein

Genre: Psychological Drama/Black Comedy

Language: English

Country: US

The Encampments [2025]

 There’s something magical about documentaries that capture, with rousing political urgency and here-and-now, the collective resistance by civilians who’ve taken to the streets to protest against a boorish establishment. The electrifying co-directed docu The Encampments, simultaneously observational and immersive, belongs to that breed where the throbbing crowd – in this case progressive, defiant and courageous college students – is its protagonist, as they decide to go about being on the right side of the history with daring abandon. The agitprop filmmaking, blending on-ground reportage with political activism, chronicled the Gaza Solidarity Encampment that the Columbia University’s students set up in April 2024, demanding complete financial divestiture by the institute’s complicit management from companies enabling Israel’s horrific genocide in Gaza, and amnesty for students censured by it. Their stirring pro-Palestine dissent and speaking of truth to power in the face of ugly vilification and repression by politicians and the media spread like a contagious wildfire across university campuses in the US and beyond, and – in parallel – eloquently recalled how, during the 1960s, Columbia’s students had similarly defended that era’s civil rights movement and opposed the Vietnam War against similarly heavy-handed authorities. The organic and decentralized movement, whose lead spokespersons were Mahmoud Khalil and Sueda Polat (among others), witnessed student and alumni participation that cut across religious, ethnic and national backgrounds, and their intoxicating passion and resilience were paralleled with gut-wrenching footage from Gaza and shocking brutality by NYC cops inside the campus. In perhaps the film’s most enduring moment, the students briefly occupy Hamilton Hall and rename it Hind Hall, in honour of the martyred seven-year-old girl whose harrowing story was memorialized by Kaouther Ben Hania in The Voice of Hind Rajab.

Directors: Michael T. Workman & Kei Pritsker

Genre: Documentary/Political Reportage

Language: English

Country: US/Palestine

The Hero of Friedrichstrasse Station / Berlin Hero [2025]

 Like his much-loved 2003 film Good Bye, Lenin!, Wolfgang Becker crafted a playful tragicomedy – recalling East Germany, which disappeared from the map upon reunification with West Germany, using an absurdist and gently satirical lens – with The Hero of Friedrichstrasse Station. However, while the former was set as the wall was coming down, Becker’s final, posthumously released film – adapted from Maxim Leo’s novel – looks into that thirty years later through the porous devices of memory and history. The film’s middle-aged Berliner protagonist Micha (Charly Hübner), who runs a struggling video store, is “discovered” by an opportunist journalist (Leon Ullrich) – looking to write a career-defining article while commemorating the 30^th anniversary of the Wall’s fall – as the mastermind behind a “mass escape” from the erstwhile GDR in 1984. No matter that it was an honest mistake by the then callow railway worker in East Berlin that’d inadvertently rerouted an S-Bahn carrying 127 passengers to West Berlin, and that everyone barring 2 had returned, as who’d want truth to come in the way of a great story – especially one that goes well with how the former Communist country is remembered today in mass media and popular cultural memory. Though uncomfortable with the half-truths and lies that get spun, he starts enjoying being a media sensation. Things, however, are complicated when he finds himself falling for a woman (Christiane Paul) who happened to be one of the 2 people who’d stayed, and former dissident Herald (Thorsten Merten) starts digging into the story. The endearing and vibrantly composed film had moments of ironic humour, as when Herald subverts expectations by praising aspects of East German life that today’s consumerist Germany finds impossible to accept.

Director: Wolfgang Becker

Genre: Comedy/Political Satire/Romantic Comedy

Language: German

Country: Germany

Our Land (Nuestra Tierra) [2025]

 The rotten history of settler-colonialism in Argentina – and the accompanying erasure of indigenous communities – has undergone progressive explorations in Lucrecia Martel’s blazing filmography. Ethnic populace – and their treatment by white bourgeois Argentines – manifested on the fringes of La Ciénaga, became a narrative catalyst in The Headless Woman, and provided the backdrop in Zama. And now, in her incisive and magnificent feature-length documentary Our Land (which was initially conceived as a hybrid essay), they’ve now moved into the foreground. Based on the 2009 murder of Javier Chocobar, 68-year-old leader of the Chuschagasta community and land rights’ activist in the country’s Tucumán Province, while resisting eviction by three men who claimed ownership of the place where they’ve existed for generations, and the much-belated trial of that in 2018, Martel trained her gaze for a rich portrayal of both the community and the deceased individual alongside a cutting reportage on the crime and the trial. The film, consequently, operated along multiple intersecting strands, coalescing murky historical contexts with contemporary fault-lines, and collective with the personal. Alongside, it navigated through “real time” legal proceedings; investigations into the incident from 9 years back; profoundly affecting memories of Chocobar through his widowed wife; seething examination of exploitation, otherization, power imbalances and persisting colonialist tendencies; and a kaleidoscopic testament to the Chuschagasta peoples’ resistance and resilience through a blend of oral and archival histories. Co-written with María Alché, her mischievous heroine from The Holy Girl, Martel stitched this multilayered tapestry through disparate visual choices – static images and jerky handycams juxtaposed with ravishing panoramic and drone shots – and reminded me of Patricio Guzmán’s Nostalgia for the Light by prefacing the grimy incident with majestic images from space.

Director: Lucrecia Martel

Genre: Documentary/Essay Film/Political History

Language: Spanish

Country: Argentina

Two Prosecutors [2025]

 Sergei Loznitsa’s stark, gripping and viscerally crushing film Two Prosecutors – a rare narrative feature by the exiled filmmaker and politically outspoken activist-archivist who’s best-known for his formally rigorous found-footage documentaries – delivered a devastating parable on the horrors and banality of totalitarianism. The Kafkaesque work, with Gogolian and Orwellian undercurrents, is set in 1937 during Stalin’s Great Purge, and was adapted from a novella by Soviet nuclear physicist Georgy Demidov who was himself a political prisoner for eighteen years on charges of being a Trotskyist. However, its Stalinist period setting notwithstanding, it powerfully speaks to all totalitarian bureaucracies and nation-states across eras, geographies and political spectrums. While destroying evidences of protestations by political prisoners, the man ordered with the task carries out a small act of disobedience by sneaking out one of the letters. That triggers the arrival of doggedly idealistic prosecutor and young Bolshevik Kornyev (Aleksandr Kuznetsov) to the Bryansk prison, who obstinately believes in the ideas of truth and justice much to the detriment of his physical wellbeing. After overcoming psychological gamesmanships by the brutish prison authorities and labyrinthine prison corridors, he meets an old Bolshevik (Aleksandr Filippenko) who’s been dubiously imprisoned and tortured by NKVD. Kornyev decides to travel to Moscow to meet the country’s real-life Procurator General Andrey Vyshinsky (Anatoliy Beliy), hoping for his intervention… he does intervene, but not in the manner Kornyev had hoped for. Shot in desaturated colours, long takes and austere framing which amplified the oppressive, claustrophobic and ominous atmosphere, it comprised of two particularly nerve-racking waits and two darkly funny asides – viz. a rambling monologue by an amputee Leninist (Filippenko again) and a deliberately incongruous song by two ominously effusive men.

Director: Sergei Loznitsa

Genre: Drama/Political Thriller/Historical Drama

Language: Russian

Country: Germany/Ukraine

Nouvelle Vague [2025]

 Richard Linklater composed Nouvelle Vague as a love letter to the eponymous French movement and Jean-Luc Godard’s trailblazing genius through a quirky, breezy and enjoyable “behind-the-scenes” making of JLG’s seminal debut feature Breathless. The latter film, with the way it embodied radical creative freedom – in its conception, making, expression and all-round irreverence – became the movement’s most emblematic work, and Linklater’s ode was therefore also a gushing celebration of movies itself. Shaped like a picaresque caper, it began with The 400 Blows’ rapturous Cannes screening, the unforgettable debut of Godard’s friend and fellow Cahiers du Cinéma critic Truffaut. With most others belonging to Cahiers’ pioneering cohort having made feature debuts already, Godard (Guillaume Marbeck) decides it’s high time for him to jump from theory to action. He hustles a meagre budget from producer Georges de Beauregard (Bruno Dreyfürst), somehow lures Hollywood starlet Jean Seberg (Zoey Deutch) – fresh out of her success with Preminger’s Bonjour Tristesse – into the cast, and pulls in his friend Jean-Paul Belmondo (Aubry Dullin), largely unknown at that time, as the Bogart-admiring anti-hero. Former war photographer Raoul Coutard (Matthieu Penchinat), who’d become a Nouvelle Vague legend himself, joins the crew, and thus begins a whirlwind and hilariously unpredictable 20-day shoot when Godard fought with Beauregard, annoyed Seberg, broke every cinematic grammar, charmed everyone and created history, while proving to be alternately mercurial, infuriating, enigmatic, wryly funny and inspired, uttering pithy philosophies and advised by his zen gurus Rosellini, Melville and Bresson. Despite its fleeting qualities, playfulness and verisimilitude – gorgeous B/W photography on 35mm film, digital recreation of 1960s Paris, and made fully in French – Linklater’s approach, ironically, stood at odds with Godard’s guerrilla, improvisational and political filmmaking.

Director: Richard Linklater

Genre: Comedy/Docudrama

Language: French

Country: France

What Does That Nature Say to You [2025]

 Lengthy alcohol-soaked interactions – as speeches slur, conversations digress, inhibitions get lowered, and anxieties, fissures and disappointments get subtly exposed – have defined Hong Sang-soo’s droll, observational slices of life. The pivotal sequence that his seriocomic 33^rd feature gradually builds towards is also an inebriated gathering where banal discussions, albeit with simmering undercurrents, transition into an edgy meltdown and disapproving opinions. Passing the “alcohol test” was therefore a crucial consideration in his amusing take on the “meet the parents” premise; however, that said, in his delectably mellow and understated world – where life plays in a minor key – confrontations and judgements are both transient and quickly forgotten. Ha (Ha Seong-guk), a thirty-something amateur poet who’s detached ties with his wealthy and influential father in order to pursue beauty shorn of societal chains, is invited by his girlfriend (Kang So-yi) of three years – who’s come to accept his quirky lifestyle choices – into her parents’ sprawling hilltop home. Her family, however, may not be as understanding, despite their outwardly genial natures. The father (the wonderful HSS regular Kwon Hae-hyo) disarmingly engages Ha in rambling banter – trying his antiquated car, showing him around, egging him to bond with the family, and finally sloshing him with makgeolli –; the discerning mother (Cho Yun-hee), a poet herself who gets Ha to open up about his poetry skills; and the sister (Park Mi-so), supposedly battling depression, steadily needling him about his privilege that’s at odds with his romanticized desire for the life of a starving artist. In a quirky formal choice, the typically unadorned visuals in the customary long takes became hazy on occasions, complementing Ha’s frequent avoidance of glasses in his preference for blurry vision of things.

Director: Hong Sang-soo

Genre: Drama/Comedy/Slice-of-Life

Language: Korean

Country: South Korea

The Piano Accident [2025]

 In a hyperconnected digital world overstuffed with vacuous “influencers” spewing inane garbage in the name of content, and their rabid “followers” ravenously consuming them, one can only be bemused by this weirdly symbiotic relationship. Quentin Dupieux’s The Piano Accident is a pungent and jaundiced satire that ferociously interrogates this greasy and desolate state of affair. It’s, in other words, a rather savage little film that goes for the jugular and takes no prisoners. It begins with a teasing shot of a piano suspended midair before seemingly crashing down. We then see Magalie (Adèle Exarchopoulos), a cantankerous young woman with a fractured arm – ostensibly injured by the said incident – being driven to a luxurious getaway by her servile factotum Patrick (Jérôme Commandeur). As we gradually learn, she’s an insanely popular and super-wealthy social media sensation who creates bizarre content – freely milking her congenital insensitivity to pain for masochistic reels – that her fans consume like a drug, and that she’s currently escaping from a shocking turn of events which can permanently ruin her. This is a curiously minimalist work in terms of its cast; aside from the incorrigible Magalie – whose utterly repulsive behaviour is a defence against her rotten and empty core, and delightfully hammed up by Exarchopoulos – we have the middle-aged Patrick, who satisfies all her churlish demands while secretly despising her as he’s unlikely get such a well-paying job elsewhere; Simone (Sandrine Kiberlain), a desperate journalist who blackmails her way into a candid interview with the notoriously media averse celeb; and a salivating idiot (Karim Leklou) representing toxic, dim-witted fandom. The film gleefully deals in unrestrained excesses with a sense of humour that’s equal parts grotesque, horrifying and unhinged.

Director: Quentin Dupieux

Genre: Comedy/Black Comedy/Social Satire

Language: French

Country: France

La Grazia (Grace) [2025]

 Paolo Sorrentino’s La Grazia, on paper, shouldn’t work, as at its most elemental it’s about a white, ageing, well-off, conservative, heteronormative man in a position of power and beset with moral dilemmas, religious inhibitions and political indecisiveness. It, however, harboured a mischievous coexistence of austere tones and solemn themes with punkish undercurrents and a subversive streak, and this interplay between seemingly incongruous elements made this a surprisingly enthralling experience. Predominantly an exercise in narrative minimalism and weighty themes, it comprised of exquisitely restrained performances by a small cast led by an exceptional Toni Servillo as fictitious Italian president and renowned former jurist Mariano De Santis (incidentally, he played real-life Italian premiers twice in earlier Sorrentino films); judicial debates with his exasperated lawyer-daughter (Anna Ferzetti); mulling on a new bill legalizing euthanasia awaiting his ratification and proposed presidential pardons for two people in jail for having committed murders (Linda Messerkliger was especially riveting as a striking woman who’s brutally killed her abusive husband); being haunted by the memories of his dead wife who he loved immensely, while also consumed by her infidelity from four decades back; and ample moments of silent introspection, solitary smokes and inaction. Further, set mostly inside the Quirinal Palace, its grand visual compositions were dominated by vast, empty spaces. In parallel, it occasionally cut loose with idiosyncratic bursts – a Rastafarian, moped-riding Pope; an electrifying contemporary dance sequence that reminded me of Pablo Larraín’s dazzling film Ema; a disastrous walk through torrential rains by a superannuated Portuguese President, shot in stylized slo-mo; acerbic jabs by Mariano’s close friend and nonconformist art critic (Milvia Marigliano); sardonic undertones frequently cloaking the melancholic airs; and a terrific, sparingly-used techno score.

Director: Paolo Sorrentino

Genre: Drama/Psychological Drama/Political Satire

Language: Italian

Country: Italy

Once Upon a Time in Gaza [2025]

 Directed by Nasser Brothers – identical Palestinian twins Tarzan and Arab – Once Upon A Time in Gaza is what the seemingly hackneyed title suggests, viz. a wacky potpourri of politics and meta-references. It’s made in the veins of a revisionist Western – populated with crooked characters, crumbling moralities, wry ironies, stylized dynamics, grimy landscapes and random violence – and set in the titular city which has been under a draconian siege for decades. It’s particularly shaped by the brothers’ intent in capturing life – with its idiosyncrasies, inconsistencies and arbitrariness – beyond the blockade, apartheid and genocide that informed its backdrop, and strongly recalled the great Elia Suleiman’s films. Divided into two disparate halves, the first was led by Osama (Majd Eid), a gregarious and amoral hustler who runs a small falafel outlet and peddles in smuggled painkillers on the side; he employs the unassuming Yahya (Nader Abd Alhay), and faces a deadly face-off with Abou (Ramzi Maqdisi), a nasty cop wanting a pie of the drug trade. The focus shifts to Yahya in the second half where, traumatized by Osama’s murder by Abou (who’s now grown in power), he’s offered to star as a martyred revolutionary in an agitprop action film sponsored by Gaza’s Ministry of Culture. Though the two halves felt disjointed – sardonic slice-of-life followed by deliberately self-reflexive events – they together carried a free interpretation of the good, the bad and the ugly personas from Sergio Leone’s iconic spaghetti Western. Majid was captivating, as were the grubby locales, subaltern subtext and deadpan humour. Filmed in Jordan by the exiled brothers, it also featured snippets from the subversive, over-the-top movie-within-movie, and operatically-scored funeral processions that nodded at Kalatozov ‘s magnificent I Am Cuba.

Director: Tarzan & Arab Nasser

Genre: Black Comedy/Political Satire/Crime Thriller/Buddy Film/Neo-Western/Action

Language: Arabic

Country: Palestine

Dead Man's Wire [2025]

 Gus Van Sant’s Dead Man’s Wire was filled with absorbing zeitgeist, gritty 1970s vitality, sly humour and subversive “state of the nation” satire, and channelled two Sydney Lumet gems. Like Dog Day Afternoon, its protagonist is a regular Joe who commits a sensational crime in an act of desperation, triggers a media circus, and becomes an anti-establishmentarian folk hero; and, like Network, he’s incredibly angry at capitalist greed. Based on an actual event from February 1977 – and all the more phenomenal for it – it starts off with Tony Kiritsis (Bill Skarsgård), intending to kidnap Meridian Mortgage Company’s owner M.L. Hall (Al Pacino), whose mala fide and predatory business practices have cost him his commercial property which he’d dreamt of turning into a shopping centre. However, as Hall Sr. is enjoying a lavish impromptu vacation, Tony kidnaps his son Richard (Dacre Montgomery) instead, and walks/drives him to his own apartment – through cops, journalists and passers-by – by devising an audacious improvisation that lent the film its title. He then holds the man captive for the next 72 hours while engaging in negotiations with the company’s lawyers, the FBI and local cops via a local RJ (Colman Domingo), who’s loved for his velvety voice and his jazz music show. Tony’s demand is simple – compensation for his financial loss and a public apology. Skarsgård was spellbinding – bringing in a blend of fury, screwball planning, vulnerability and uncanny media savvy – and Pacino was captivating in his cameo as a platinum-grade douchebag. They were complemented by a great soundtrack, analogue visual compositions and controlled farce, as the film portrayed class war and rotten corporate opportunism – all too prescient even today – while also delivering crackerjack entertainment.

Director: Gus Van Sant

Genre: Thriller/Crime Thriller/Docudrama

Language: English

Country: US

Bugonia [2025]

 Yorgos Lanthimos’ absurdist and unhinged black comedies have toggled between relatively minimalist palettes and unreservedly maximalist ones. Bugonia was primarily constructed in the former vein – seething with anxiety, paranoia, gallows humour, and satire on class warfare, corporate malfeasance and exploitation – and soared for stretches with the unsettling ferocity and straight-faced schlock of his dystopian parable The Lobster. However, unlike that earlier film, it instead ended up literalizing the plot, delivering philosophical explanations and veering towards grandiose tendencies in the final third leading to the “extraterrestrial” climax. That jump into fantasy partially offset the tense and edgy buildup, even if it ultimately closed with a fine montage accompanied by Marlene Dietrich’s rendition of the great Pete Seeger folk song “Where Have All the Flowers Gone?”. Remade from the Korean film Save the Green Planet!, it follows two marginalized and alienated guys – conspiracy theory-obsessed Teddy (Jesse Plemons) and his autistic cousin Don (Aidan Delbis) – who kidnap Michelle (Emma Stone), the CEO of a powerful pharmaceutical company, assuming her to be an alien (“Andromedan”) secretly here in human form to destroy earthlings and its ecology. At its heart lay the psychological duel between the cold, manipulative and sociopathic Michelle, with her doublespeak, consulting jargon, and frightening lack of empathy, and Teddy, whose grief, past trauma, and emotional estrangement – complemented by his intelligence and detestation for the neoliberal monstrosity that the pharma company represents – has transitioned into volatile and destructive monomania. Stone was riveting, and Plemons no less compelling, in embodying their characters, while Delbis was quietly affecting as the tragically lost and fragile Don, in this bleak and unsparing work that stopped short of brilliance due to Lanthimos’ inability to pull back.

Director: Yorgos Lanthimos

Genre: Black Comedy/Thriller/Social Satire/Sci-Fi

Language: English

Country: UK

Dracula [2025]

 Romanian provocateur and lampooner Radu Jude’s Dracula – his second outing in 2025 after Kontinental '25, both shot using iPhones – was a profane dissection of Romania’s most famous export, ferocious depiction of how troubling historical events are appropriated by consumerist societies into kitschy money-spinners, and lurid commentary on the blood-sucking vampirism of AI in cinema (and arts in general). After the relatively more restrained (though no less cutting) last film, Jude returned to his maximalist ways – and further amped up his preferred episodic form – in this unhinged and outrageous work that was a brutal parody, farce, burlesque, satire and critique rolled into one. Comprising of multiple chapters of disparate lengths and tones over a three-hour length and connected by a linked narrative, the film felt uneven and overdone on occasions, while unabashedly delivering a riotous potpourri of politics, history, sex, violence, comedy, metatextual referentiality, societal takedowns, celebration of lowbrow aesthetics, and chaotic experimentation. A gleefully vulgar filmmaker (Adonis Tanța) wants to make a commercial movie on Bram Stoker’s eponymous creation (which had been inspired from the 15^th century ruler Vlad the Impaler, who’d meted out savage punishments to his opponents and is a hero for ultra-right-wing nationalists), but is creatively blocked. He therefore makes use of LLM prompts for a series of gratuitous reimaginations. They include a smutty, Dracula-themed cabaret that allows tourists to engage in carnal and violent roleplays; a sham health centre summoning the Count for psychosomatic treatments; a Dracula reincarnate outraged by his bastardization to hapless visitors; Vlad calling his ghouls to viciously break a defiant union strike; and a PhD student falling for an aristocrat’s daughter in a town haunted by a vampire, amidst religious frenzy.

Director: Radu Jude

Genre: Comedy/Black Comedy/Social Satire/Political Satire/Experimental Film/Anthology Film

Language: Romanian

Country: Romania

Peter Hujar's Day [2025]

 In 1974, writer Linda Rosenkrantz – who loved harnessing casual conversations and gossips – invited celebrated photographer and her friend Peter Hujar – who was still operating in the margins at that time, even if he was already a part of New York’s underground cultural circle, and died at the young age of 53 a decade later due to AIDS related complications – to her Upper East Side apartment to share how his previous day had been. The freeform “interview” that was recorded on tape as part of an intended larger project was unfortunately lost, but the manuscript resurfaced nearly half-a-century later in 2021, and which filmmaker Ira Sachs discovered at a Parisian LGBTQ+ bookstore. Peter Hujar’s Day is a delectable adaptation of that interaction – at once a meticulous, word-for-word transliteration of the text and a self-reflexive interpretation through such playful gestures as changing attires, the day transitioning into night in sync with Hujar’s recap, jump cuts, and the film’s crew bleeding into the frame on occasions. This warm, droll and captivating work provided a fascinating time capsule of 1970s NYC while also revealing, through gentle touches, the deep friendship that Rosenkrantz (tenderly portrayed by Rebecca Hall) had with Hujar (played with terrific panache by Ben Whishaw). Over the course of this intimate pas de deux, an exceptionally chatty Hujar recounts activities both consequential (Allen Ginsberg’s photoshoot, receiving tips for winning over William Burroughs, phone call from Susan Sontag, the challenges of getting paid, etc.) and banal (napping, eating Chow Mein, etc.), and their rambling exchanges – mostly indoors but at times on the balcony with the NYC skyline as backdrop – were captured in rich, grainy and exquisitely zeitgeisty 16-mm photography and art décor.

Director: Ira Sachs

Genre: Drama/Docudrama/Biopic

Language: English

Country: US

It Was Just an Accident [2025]

 Jafar Panahi’s blistering work It was Just an Accident was defined as much by the edgy specificity of its milieu as by the stirring universality of its appeal. Though his ban from filmmaking has finally been lifted, he must still work in the shadows due to his fierce intellect and defiance. He powerfully demonstrated that, in a voice that’s also profoundly moral, thereby making his first fully narrative feature in a long time – intimately informed by his personal experiences – essential political cinema. It began by focusing on a seemingly banal family man (Ebrahim Azizi) driving his wife and daughter home when, upon accidentally hitting a stray animal, stops at a garage to get his car inspected. Vahid (Vahid Mobasseri), an auto-mechanic, recognizes him – through the squeak of his prosthetic leg – as the brutal tormentor who’d physically and psychologically tortured him during his time as a political prisoner. He decides to seek justice by kidnapping the man and burying him alive in the deserts. However, when doubts creep in about his identity, he decides to seek second opinion, and thus begins a darkly funny road trip as fellow victims each of whom carry devastating traumas – a photographer (Mariam Afshari), a would-be bride (Hadis Pakbaten) and her fiancé, a troubled man (Mohamad Ali Elyasmehr) – gather in his van, debating what ought to be the man’s punishment. Panahi complemented the guttural howls against tyranny and ethical quandaries of violent revenge with wickedly absurdist humour and subversive irony in this riveting and tightly scripted political thriller, that also comprised of virtuoso long-takes. Vahid was superb as a man broken by the state whose humanity hangs by a thread, as were his fellow actors.

Director: Jafar Panahi

Genre: Thriller/Political Thriller/Mystery

Language: Persian

Country: Iran

Father Mother Sister Brother [2025]

 Father Mother Sister Brother – Jim Jarmusch’s fourth anthology film, a form that he keeps returning to – was interwoven with his love for aimless drifters, low-key emotions, deadpan humour, and loosely-strung stories that don’t reveal any big truths. The overarching theme of this gently idiosyncratic and curiously compelling triptych was the unknowability of the inner workings of one’s parents and a Rorschach test on defining familial relationships through one’s subjective interpretations. In the wryly funny and ironic first episode, “Father”, carrying delectable traits of O’Henry and Maupassant, siblings Jeff (Adam Driver) and Emily (Mayim Bialik) visit their aged, reclusive, widowed and estranged dad (Tom Waits) who stays in remote New Jersey; while they wonder how their father survives with no social security, and his dishevelled cabin confirms their doubts, there’s something brewing underneath which delightfully comes to the fore eventually; the father’s nonconformist existence (which Waits channelled naturally) made for an amusing contrast to his children who’re squares. In the relatively weaker middle chapter “Mother”, the scenario is reversed as two neurotic sisters – the uptight Timothea (Cate Blanchett) and the oddball Lilith (Vicky Krieps) – visit their successful, self-assured mom (Charlotte Rampling) in Dublin, for a rather stiff-collared annual reunion. In the wistful and glorious final chapter “Sister Brother”, that saw Jarmusch operating in commanding form, American-Parisians and fraternal twins Skye (Indya Moore) and Billy (Luka Sabbat) reconnect over the melancholic memories of their bohemian parents – who’ve recently died – over coffee, old photos, their parents’ emptied apartment, and final belongings; it featured a cameo by the legendary Françoise Lebrun. The film featured Dusty Springfield’s seductive song ‘Spooky’, Anika’s haunting rendition of it, oddball connecting threads, and carefree skateboarders representing subaltern freedom.

Director: Jim Jarmusch

Genre: Comedy/Family Drama/Anthology Film

Language: English

Country: US

Portobello [2025]

 It’s quite astonishing that Marco Bellochhio, a (hopefully) soon-to-be nonagenarian who made his directorial debut six decades back, is still making films that’re bold, ambitious, caustic, rebellious, comprises of electrifying moments and filled with throbbing vitality. His second television miniseries – made four years after Exterior Night, a similarly vigorous and riveting recounting of a complex and sensational chapter from contemporary Italian history – Portobello flamboyantly glided through a real-life soap opera filled with kitsch, melodrama, scandal-mongering, lurid machinations, “theatre of the absurd” and a proto version of cancel culture. Enzo Tortora (Fabrizio Gifuni, in his third consecutive collaboration with Bellocchio and fourth overall) was at the peak of his popularity in the early-1980s when things took a spectacular nose-dive for him and he was plunged into a bizarre nightmare. He was the host of the enormously popular weekly TV show – a rather cheesy programme that was fervently devoured by 28 million viewers – when Giovanni Pandico (Lino Musella), a creepy and egotistic Comorra member who was obsessed with Tortora and turns into an informant for the Italian authorities, falsely alleges the latter of being a drug trafficker for the mafia out of sheer spite. Few of his fellow turncoats, too, join him in that, and as a result Tortora’s life comes crashing down, leading to a frustrating, traumatic and seemingly endless battle with an obsessed state prosecution. Bellocchio splendidly captured the zeitgeist through ambitiously mounted set-pieces and production designs, and the utterly farcical nature of the scenario through a mix of drama, bombast and sardonic humour, thereby making this a thrilling seriocomic ride. The firebrand Italian filmmaker’s pointed jabs at his country’s social, political, judicial, religious and criminal layers continue unabated.

Director: Marco Bellocchio

Genre: Drama/Legal Drama/Crime Drama/Biopic/TV Miniseries

Language: Italian

Country: Italy