Roman Bondarchuk takes us to a pre-invasion Southern Ukraine in his Forum satire The Editorial Office, filled with weighty topics while lacking cinematic bite.
There’s Plenty of Fake News at The Editorial Office

Exploring the Outer Edge of Film
Roman Bondarchuk takes us to a pre-invasion Southern Ukraine in his Forum satire The Editorial Office, filled with weighty topics while lacking cinematic bite.
La Cocina uses its kitchen-setting as a springboard for a grand Statement on America. But it ruins the main dish by adding too many flavours.
Sam & Andy Zuchero’s unconventional love story, Love Me, is buoyed by two excellent performances from Kristen Stewart and Steven Yeun.
Madelaine Hunt-Ehrlich’s The Ballad of Suzanne Césaire mounts a corrective to the surrealist’s occluded legacy through a personal essayistic structure.
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.
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.