★★★★☆ Romanian director Cristian Mungiu’s first film in six years, R.M.N. is a multi-faceted, oft-bleak, and occasionally surreal portrait of racism and toxic masculinity in Romanian society. In its depiction of a part of Europe struggling to keep up with neoliberalism, R.M.N exposes the dark mirror of liberal, globalised western European metropolitanism.
★★★★☆ An acerbic social satire, Chilean filmmaker Sebastián Silva’s latest reflects a cultural malaise rooted in cultural ennui. More than a casual swipe at modern social trends, Rotting in the Sun exposes a kind of cruelty, alienation, and social stratification that is only as modern as the technology through which it expresses itself.
★★★☆☆ Chilean director Pablo Larraín has made the treatment of the great, the famous and the powerful his topic of preference, eschewing the lower end of the social scale that first made him famous with films such as Tony Manero and Post Mortem. Nothing has quite gone as far as El Conde, however.
★★★★★ Childhood friends Na-Young (Greta Lee) and Hae-Sung’s (Yoo Teo) young lives are irrevocably changed when Na-Young’s family emigrate from South Korea to Canada, until the pair reconnect twelve years later. Past Lives, a film about love, friendship and fate, is an astonishing debut from South Korean-Canadian director Celine Song.
★★★★☆ American indie director Ira Sachs returns to UK screens with his comic romantic drama Passages, a pointed, revealing study of selfishness and an all-too familiar portrait of emotional indulgence, bolstered by three excellent lead performances.
★★★★☆ The long-suffering son of serial monogamist Sylvie (Anouk Grinberg), Abel (Louis Garrel) is immediately suspicious of her new (and third) husband, convict and ex-heist man Michel (Roschdy Zem). His fourth feature as director, Garrel’s The Innocent deftly mixes comic family melodrama with genre thrills in this pacy, emotive thriller with a killer cast.
★★★★☆ Two young friends, Leon (Thomas Schubert) and Felix (Langston Uibel), take a fateful working retreat in a forest cabin on Germany’s Baltic coast. German director Christian Petzold’s latest is a tense, emotionally fraught drama, layered with smouldering internal conflict that – by its incendiary close – invariably catches alight.
★★★★☆ Promoting his latest work, a successful writer returns to his hometown and the site of his first love. Olivier Peyon’s sixth feature is a bittersweet bildungsroman told in reverse; a study of identity reconciled too late. In examining the reflexive, redemptive power of fiction, Lie With Me is a moving story of love lost to time.
★★★★☆ After an eleven-year hiatus, Rome-born director Emanuele Crialese returned to the cinema last year with the Venice premiere of this family drama. Now arriving on UK cinema screens, the 1970s-set L’immensità is a multilayered study of family life in disintegration.
★★☆☆☆ Trapped in an unhappy relationship and a life going nowhere fast, Cheyenne’s (Kristi Ray) discovery that she is pregnant gives her the kick that she needs to leave her partner, Alex (Hadyn Winston). American writer-director Erika Arlee’s debut feature showcases strong performances and nice visual flourishes, but A Song for Imogene struggles to find an emotional hook.
★★★★☆ Among the most popular and iconic toys in the world, since its 1959 inception, the Barbie doll has delighted children while embodying unrealistic beauty standards for women. Is Barbie a sexist stereotype or neo-feminist icon? Erstwhile indie director Greta Gerwig and co-writer Noah Baumbach asks, why not both?