Cloud, the latest from Kiyoshi Kurosawa, shows how fears about the internet have drastically evolved since Pulse (2001). Live from Venice.
Cloud Finds the Apocalypse in E-Commerce

Exploring the Outer Edge of Film
Cloud, the latest from Kiyoshi Kurosawa, shows how fears about the internet have drastically evolved since Pulse (2001). Live from Venice.
With hints of Zodiac and Seven, Fabrice du Welz’s new thriller Maldoror — charting the real-life murders of Belgian serial killer Marc Dutroux — aims for that nasty, slow burn.
Fascist bonehead study Familia refreshingly avoids clichéd redemption arcs in favour of a more nuanced take on the cyclical nature of toxic masculinity.
A washed-up Austrian MMA fighter finds herself immersed in a strange Jordanian family in Kurdwin Ayub’s Mond, her much-anticipated follow-up to Sonne.
A man’s grief-induced amnesia provides excellent inspiration for a journey through the past in Sara Fgaier’s powerful debut Weightless.
The ten-years-in-the-making Tezeta is a lively and fascinating portrait of Armenia’s contribution to Ethiopian musical history.
With a tight 1:1 ratio and an eye for arresting visuals, Windless sure looks great, but its grief-laden tale fails to hit with the viewer emotionally.
With a stripped-back aesthetic, Mara Tamkovich’s debut Under the Grey Sky carefully surveys the cost of practicing independent journalism in modern-day Belarus.
Jean-Christophe Meurisse’s Plastic Guns doubles down on the provocations of Bloody Oranges in an off-kilter, hilarious and deeply nasty farce.
Marcelo Caetano’s Baby might combine reliable and clichéd tropes, but Caetano’s sex work study succeeds thanks to its keen observation of queer communities.