Joshua Oppenheimer’s debut narrative feature is a baffling mix of genres that still manages to reflect the evils of humankind.

Ridley Scott returns to one of his most prolific films with a sword-and-sandals epic that is both satisfying and disappointing.

Edward Berger's papal thriller turns an otherwise sterile screenplay into a lavish and focused commentary on the current political landscape.

Matthew Rankin's sophomore feature is an imaginative and heartfelt celebration of human connection in a fictionalized Canada.

Sean Baker's latest film is an exciting and tense whirlwind romance, led by a tremendous performance and infectious energy.

Kazik Radwanski's latest film is a richly textured analysis of creative people wrestling with modern-day anxieties.

Coralie Fargeat's sophomore feature is a maximalist body horror masterpiece that is both unflinching in its extremes and remarkably assured in its direction.

Jeremy Saulnier's latest film confronts corruption and injustice through the determination of its formidable protagonist.

Quinn Armstrong's sophomore feature, and first film in his Fresh Hell trilogy, is a bleak and unflinching examination of conversion therapy and its horrors.

Thea Hvistendahl's feature directorial debut is an immersive confrontation of the grieving process.

Bren Foster's directorial debut is a vicious vanity project that features unforgettable martial arts mayhem in a dark, depraved world.

Jane Schoenbrun's latest film, I Saw The TV Glow, is a singular and vital confrontation of escapism and its role in our formative years.