Costa-Gavras’ The Last Breath is a sober, talk-driven drama that turns away from medical heroics to ask what happens when curing is no longer possible and only caring remains. Through the encounters between a renowned philosopher (Denis Podalydès) and a palliative-care doctor (Kad Merad), the film probes how to tell the truth, when to stop treatment, and how to accompany patients who know they are nearing the end.
The Future Awaits (La vie devant moi) focuses on one Jewish family hidden in a Paris chambre de bonne after the Vél d’Hiv roundup, guided by the real testimony of Tauba Birenbaum. Niels Tavernier’s film is strongest when it sticks to that narrow premise: the claustrophobia of silence, the grinding fear of being discovered, the moral courage of Rose and Désiré, the ordinary couple who choose to hide them.
A tender, unsentimental portrait in which Calvin Liu turns his camera toward his father, a 58-year-old Chinese immigrant motel owner in Gaspésie, and lets work, habit, and landscape speak in place of speeches.
A soft, luminous midlife love story, Montréal ma belle follows Feng Xia (a superb Joan Chen), a 54-year-old Chinese immigrant in Montréal whose encounter with a younger Québécoise woman awakens long-suppressed desire and self-determination; Xiaodan He films her with rare dignity and sensuality, offering a tender love letter to both woman and city, even if the cross-cultural tensions remain more beautified than fully explored.
Barny’s Fanon is strongest when it turns the Algerian psychiatric hospital into a clear microcosm of colonial violence.
A queer rural trance-piece of fog, leather, and collapsing houses, Only Good Things showcases Daniel Nolasco’s sensual visual language but lets mood eclipse meaning.
Colin Hanks signs a warm, craft-conscious portrait that follows John Candy from his Toronto’s vanished childhood cinema and SCTV days to Hollywood stardom and home life, pairing sharp testimonies with clips that show—rather than tell—his generosity, timing, and enduring charm.
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 Scott Cooper’s SPRINGSTEEN: Deliver Me from Nowhere sets itself a clean, compelling brief: track the making of…
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 A micro-budget Canadian “found-footage” horror shot in nine days, Dream Eater took on a second life after festival play…