A Different Man has all the snarky hallmarks of another A24 provocation, but it’s saved by a screenplay that somehow evokes the best of Woody Allen.
A Different Man, Sort Of

Exploring the Outer Edge of Film
Reviews and dispatches exploring the best new cinema premiering around the world.
A Different Man has all the snarky hallmarks of another A24 provocation, but it’s saved by a screenplay that somehow evokes the best of Woody Allen.
The Panorama section of the Berlinale probes the limits of human sexuality, violence and capacity for connection. Here’s our master list of Panorama reviews.
Small Things Like These may highlight a vital decades-long human rights abuse but is sadly let down by its derivative imitation of Terence Davies’ best work.
Sam & Andy Zuchero’s unconventional love story, Love Me, is buoyed by two excellent performances from Kristen Stewart and Steven Yeun.
Rose Glass’ sophomore effort, Love Lies Bleeding, is unconcerned with likeability. Here’s why that’s a good thing, live from Sundance.
Editor-turned-director Scott Cummings eschews conventional cutting in his slow, unjudgemental look at the Satanic church in Realm of Satan.
78 Days by Emilija Gašić uses a documentary, found-footage approach to depict the trials of girlhood growing pains in the midst of NATO bombings.
Madelaine Hunt-Ehrlich’s The Ballad of Suzanne Césaire mounts a corrective to the surrealist’s occluded legacy through a personal essayistic structure.
Alexander Lind’s The Light investigates an incendiary art project that used bunkers as a metaphor for Danish collaboration during the Nazi occupation, live from Rotterdam.
Using an Unreal Game Engine to bold and unsettling effect, Ishan Shukla’s Schirkoa: In Lies We Trust is a truly unique and strange sci-fi vision.