by Hudson Moura Cédric Klapisch’s Colours of Time is an elegant, intergenerational tale that treats memory as both archive and encounter. The…
by Hudson Moura Varante Soudjian’s Challenger is a breezy, good-natured crowd-pleaser that marries working-class aspiration with the slapstick volatility of viral fame.…
by Hudson Moura Philippe Mechelen’s The Rookie Guide (Le Routard) turns the famed travel brand into a buoyant meta-comedy: Yan Tatin (a…
by Hudson Moura Peter Dourountzis’s Vultures (Rapaces) descends into a France where organized, paramilitary rape-gangs terrorize cities and where the…
by Hudson Moura Adapted from Laurent Petitmangin’s Ce qu’il faut de nuit, Delphine et Muriel Coulin’s The Quiet Son reframes a familiar social…
by Hudson Moura Throughout Peak Everything (Amour Apocalypse) Anne Émond saturates the narrative with what we could call an immanent critique of wellness:…
by Hudson Moura With Menteuse, Émile Gaudreault returns to the comic universe he knows best: ordinary Québécois characters whose small, everyday…
by Hudson Moura Mourad Winter’s Love Is Overrated is less a film about love than a film about the inability to enter reality.…
by Hudson Moura Enya Baroux’s We Will Go (also circulating in French as On Ira/Bon voyage, Marie) is a small, disarming film that…
by Hudson Moura Jacelyn Forgues’ Et Maintenant is a cancer film that refuses to be only a cancer film. On le papier,…
by Hudson Moura Scott Derrickson’s Black Phone 2 pivots the franchise from basement horror to oneiric fantasia. After a brief prologue…
by Hudson Moura Michelle Garza Cervera’s reworking of The Hand That Rocks the Cradle aims to refit the early-’90s domestic thriller to…
by Hudson Moura Helander opens with a definition card—“Sisu is a Finnish word that cannot be translated… a white-knuckle form of…
by Hudson Moura Tron: Ares returns to the franchise’s neon metaphysics with a premise that ought to feel timely: a world…
by Hudson Moura The conversation about “straight-to-streaming” releases is no longer about dumping weak titles, rather it’s about calibrating audience,…
by Hudson Moura Downton Abbey: The Grand Finale leans into what has made the franchise singular: an impeccably produced British period…
by Hudson Moura Darren Aronofsky’s first post-The Whale pivot is a full-throttle genre swerve: a bruised, breathless caper-thriller set in 1990s…
by Hudson Moura “Free borders, free bodies, free choices, free fucking fear!” Perfidia (Teyana Taylor) spits at Col. Steven J.…
by Hudson Moura French Lover frames the film set as a fairy-tale enclave—à la Notting Hill—where cinema becomes both refuge and ruse.…
by Hudson Moura In a season crowded with star-led vehicles, two projects stand out for how explicitly they turn performance…
by Hudson Moura Sean McNamara’s Bau, Artist at War attempts to capture the remarkable life of Joseph Bau—a Holocaust survivor, document forger,…