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.

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.

“The Blue Caftan” establishes Maryam Touzani as both a vital contributor to new queer cinema and one of international film’s most capable rising auteurs.

Alex Phillips’s directorial horror-comedy debut positions him as the poor man’s David Cronenberg… but the poor man already has David Cronenberg.

Mia Hansen-Løve’s intimate character study moves her one step closer to becoming one of her generation’s best writer-directors.

Li Ruijun’s arthouse crowd-pleaser is a middling underdog romance at best, and gratuitous poverty porn at its worst.

Watch out, Richard Curtis — Klaus Härö and his English-language debut film are coming for your rom-com drama throne.

Hong Sang-soo claims yet another Silver Bear for a movie with no shortage of mirth or merriment.

Who knew first love could be so bland?

Katrine Brocks’s debut feature about faith and forgiveness starts out strong, but soon falls into staid, illogical shambles.

Trace Lysette and Patricia Clarkson helm Andrea Pallaoro’s new drama, forging new paths in the craft of transgender character studies.

Compulsively enjoyable and refreshingly genuine, “Leonor Will Never Die” is a meta-comedy like no other.

Anders Emblem’s insular new drama is a feast for the eyes, but ultimately leaves much more to be desired.