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

A collection of reviews from the 43rd edition of the Vancouver International Film Festival for Ari's Theme, The Chef & The Daruma, and Inay (Mama).

Max and Sam Eggers' feature directorial debut pits an expectant mother against her mother-in-law while trying to balance unsettling actions with non-stop comedy.

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.

Fede Alvarez takes a swing at iterating on the Alien franchise with a playful amusement park of thrilling set pieces and terrifying imagery.

M. Night Shyamalan's latest thriller leans heavy on the twists to create an entertaining cat-and-mouse manhunt to catch a crafty serial killer.

Tilman Singer's sophomore feature is a delirious trip that muddles its thematic intent in exchange for pure genre thrills.

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.

Dev Patel’s feature directorial debut, ‘Monkey Man,’ is a fascinating riff on popular action films through a distinctly Indian lens.

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.