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.

Catalan auteur Albert Serra returns with another intricately-crafted atmospheric drama in which answers are ever out of reach.

Breakout star Park Ji-min electrifies Davy Chou’s much-needed exploration of what it means to truly “belong.”

From one of Turkey’s foremost directors and political historians comes a gripping, incisive study of how power turns men into monsters.

David Dawson and Emma Corrin elevate Michael Grandage’s misguided Harry Styles hype vehicle just past mediocrity.

Romania’s stalwart arthouse director Cristian Mungiu returns after six years to examine Europe’s rising tides of racism and xenophobia.

Ethan Hawke and Sophie Okonedo shine alongside Ewan McGregor in Rodrigo García’s new tale of family and forgiveness — or lack thereof.

With far less violence and far more sentimentality than usual, “Decision to Leave” finds Park Chan-wook in a reflective mood.

David O. Russell’s newest film can’t decide if it wants to be a comedy, a political thriller, or a heartfelt exploration of friendship. It ends up just being a mess.