Australian director Zak Hilditch gamely makes a play for zombie horror canonisation, but sadly falls short of the mark.

The Nasser brothers’ third feature is a tragicomic Rube Goldberg machine of cultural resistance and farcical coincidence.

Théodore Pellerin and Archie Madekwe elevate an otherwise serviceable thriller that falls short of the sum total of its paradigmatic influences.

Jessica Chastain reunites with Mexican cinema’s enfant terrible for a furious and frothing examination of the cross-sections between race, social class, and power.

Acclaimed documentarian Joshua Oppenheimer’s surprise pivot to fictional narratives is unforgivably flaccid and ham-handed; a far cry from his past work.

Chuckles may be thin on the ground here, but the Romanian auteur’s pivot from satire to social realism is a most welcome change.

Despite its technical competence, Kelly Reichardt’s parable against upper-class hubris is as aimless as its leading man’s thousand-yard stare.

Demi Moore and Margaret Qualley bring their A-game to Coralie Fargeat’s visionary new entry to the body-horror canon.

Writer-director Damian Mc Carthy’s second feature film is an intricately-crafted, genre-hopping cabinet of horrific curiosities.

The Canadian body-horror maestro returns with a perplexing autobiographical thanatopsis that loses sight of itself within its own half-baked subplots.

Magnus von Horn’s Cannes competition debut is a slightly muddled but nonetheless thought-provoking and pertinent arthouse horror hybrid.

Headed by a revelatory Lars Eidinger, Matthias Glasner’s autopsy of the nuclear family project handles its existentially weighty themes with equal pathos and panache.

A vibrant, fascinating, and heartfelt look at the human drive to form communities — virtual or otherwise — in times of strife.

Manuela Martelli draws on the fraught history of her family and home country to weave a haunting tale of life during civil wartime.

As thoughtful and intricate as it is visceral, Michelle Garza Cervera’s debut horror feature makes a scream queen out of rising star Natalia Solián.

Adam Koloman Rybanský and his friends aim for the stars with their debut full-length dramedy, but get lost somewhere in the clouds (and the chemtrails) instead.

Colombia’s official Oscars entry for 2023 is a haunting, phantasmagoric reinvention of the Monomyth that should not be overlooked.

Daniel Goldhaber’s second feature film pulls out all the stops as a defiant, sure-footed eco-terrorism thriller.

Vicky Krieps gives a once-in-a-lifetime performance as an empress out of time in Marie Kreutzer’s feminist fable for the ages.

Alex Thompson’s disappointing second feature wastes a novel premise on substandard execution marred by indecision.