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.
The dehumanisation of seeking asylum is piercingly explored in Alexandros Avranas’ horror-but-not-horror Quiet Life. Live from Venice Film Festival!
Vermin is one of the downright nastiest yet compelling creature-features made in recent years, a true standout of the Venice Film Festival.
The careers of three excellent actresses are launched in Mika Gustafson’s sensitive ode to the travails and beauty of youth — live from Venice Film Festival.
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.
Sculpture unlocks the essence of a man in Anaïs Tellenne’s tender, enigmatic debut The Dreamer — live from Venice Film Festival.
Behind the Mountains mixes thriller themes with the supernatural genre, to mixed, often underwhelming effect — live from Venice Film Festival.
The practicalities and pitfalls of vampire life are warmly investigated in the mostly enjoyable Humanist Vampire Seeking Consenting Suicidal Person.