Daniel Hui’s chamber piece makes the most of its limited location to provide fascinating ruminations on the reverberations of Singaporean history.
Small Hours of the Night Gives Testimony to Disembodied Dissidence

Exploring the Outer Edge of Film
Daniel Hui’s chamber piece makes the most of its limited location to provide fascinating ruminations on the reverberations of Singaporean history.
Days of Happiness may offer the antidote to Tár’s toxicity, but it lacks the passion needed to make for a masterful conductor character study.
The perils of being a vampire in a regular-old world are subtly investigated in For Night Will Come — beating away clichés before eventually succumbing to them.
A free-wheeling, three-part riot of formal invention, Víctor Iriarte’s excellent debut is at once aesthetically rigorous and politically pointed.
Sidonie In Japan is a classic example of a fine actress phoning it in, wasting Huppert’s talents in a generic, unconvincing cross-cultural examination of grief.
Indian movie Stolen levels up scene after scene, moving from a tense, whodunnit to a full-blown, white-knuckle thriller — live from Venice Film Festival.
A not-quite musical filled with loveliness and laughs, Chuck Chuck Baby is the operatic soap opera I never knew I needed — live from Edinburgh Film Festival.
Dull visuals and an unengaging plot make Ukrainian village tale Stepne, playing in competition, an enervating watch — live from Locarno Film Festival.
The Vanishing Soldier uses its picarasque, free-wheeling form to investigate the complexities and paradoxes of modern Isreal — to mixed results.
The pitfalls of always providing entertainment are perfectly probed in Animal, Sofia Exarchou’s excellent sophomore film.