Park Chan-wook’s Decision to Leave

Heavy mist and the truths beneath

Films of the year 2022

Charlotte Wells’ Aftersun

The echoing melancholy of the past

Franck Khalfoun’s Maniac

The killer we live in

Pedro Almodóvar’s The Skin I Live In

Identity in flux and the trauma of our decisions

David Cronenberg’s Crimes of the Future

A nightmare of painless wounds

James McTeigue’s V for Vendetta

Voracious violation of volition and a vichyssoise of verbiage

David Gordon Green’s Halloween Ends

Pumpkin metaphors and the courage to offend

George Miller’s The Witches of Eastwick

Devils, doubles and deep desires

Pumpkin Picks

Demons, curses and piano strings

Carl Schenkel’s Out of Order

On the Floors of Society

In conversation with Daisuke Beppu

Greetings from Tokyo!

Everything Everywhere All at Once

A multitude of verses

Kogonada’s After Yang

Yang's dream of the butterfly

Audrey Diwan’s Happening

A masterful visceral film on abortion

Christopher Nolan’s Inception

A tale of dreams and reality

Hirokazu Koreeda’s Still Walking

A simple family as the nucleus of life

Take into focus

Five great asian films under the radar #1

Welcome to the Giallo

Thriller all’italiana or their vice is J&B and the twist you’ll never foresee

Jordan Peele’s Nope

Coins rain and the ethics of renunciation

Asghar Farhadi’s A Hero

The disappearance of good deeds—A subtle political drama about honour

Brandon Cronenberg’s Possessor

Style equals substance

Jordan Peele’s Us

Through guilt and greed

In-depth

In shadows of Miyazaki

Christopher Nolan’s Interstellar

The concept of love in space and time. When pioneers trump historical revisionists.

Robert Jabbaz’ The Sadness

What makes zombies really scary