Every indie, foreign, and festival-circuit title our critics have weighed in on since the publication began — long-form, spoiler-aware, written by people who actually sat through the whole thing.
Or just keep scrolling. Either works.
Two long reads we couldn’t stop arguing about at the office. Skip the algorithm — start here.
A near-silent, rigorously composed drama about an aging proofreader who decides, on the morning of her retirement, to walk the 480 kilometers back to the village of her childhood. Léa Drucker gives the year’s most deliberate performance, and the film gives her room to breathe inside it.
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What starts as a quiet domestic study of a divorce assembled at a kitchen table slowly blooms into something stranger and more tender — a film about the small obsessions that hold a life together. Our critic called it “the first great American relationship movie of the year.”
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A patient, observational character study from a director who has quietly become Iran’s most consistent formalist. Less a road movie than a portrait of attention itself.
A docufiction hybrid about a Rio housing co-op that turns surveillance footage into something like collective cinema — and finds grace in every pinched hallway.
A near-silent late-career drama about transmission — of craft, of mourning, of the small motor skills of a life. The year’s most patient film is also its most generous.
A coming-of-age that earns its nostalgia by refusing to wallow in it; an indie rock mixtape assembled into a real, awake feature about how we used to listen.
A monumental twelve-month film built entirely from hallway conversations — and a reminder that Romania’s post-Communist apartment novel still has rooms we haven’t entered.
Siblings reunite at their dead father’s apartment and do almost nothing for ninety minutes — and it’s one of the most precise things we saw all festival.
A great review is not a verdict. It is a careful record of what a film asks of you, what you gave it, and what was left over.
No industry claims, no borrowed authority. Just what we have written, watched, and stood behind since the first issue.
Curated by 11 critics based in Brooklyn, London, Berlin, and Tokyo.
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