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A glimpse at upcoming UK DVD and Blu-ray release dates until early 2026: here’s what’s coming to disc and when.

Here, then, are a few of the upcoming dates for new movies on DVD and Blu-ray that may not yet have been officially announced. Note that all dates are for the UK.

Also: We’ve started adding affiliate links. If you click on those, we benefit, and can spend more money paying more people to write more things for this website. No pressure, just hugely obliged.

Obviously in the current climate everything is subject to change, of course…

Just released

First Time On UK Blu-ray: No Way Out...

Imagine if Michael Haneke’s “Funny Games” were instead about a pair of lone-wolf, conservationist vigilantes trying to save the world instead of two sociopathic twinks wanting to tear it down, and you’ll have some idea of the hyper-contained, rigorously controlled torture chamber that is Yorgos Lanthimos’ “Bugonia.”

Jesse Plemons stars as a galaxy-brained conspiracist beekeeper who’s either severely mentally ill or the only prophet among us, hijacking his cousin (Aidan Delbis) into a scheme to kidnap a big pharma executive (Emma Stone) whom he believes to be a body-snatched alien sent to end the planet.

Lanthimos works from an on-the-nose-for-the-now feature screenplay by “Succession” and “The Menu” writer Will Tracy, diverting from the droll theater of cruelty present in scripts by Efthimis Filippou (“Kinds of Kindness”) or the florid repartee of Tony McNamara. “Bugonia” has all the streak of Tracy’s kill-the-rich brand of satire, but with...

Note: This review was originally published as part of our 2024 Venice coverage. Stranger Eyes opens in theaters on August 29.

I always find it difficult to write about performances. Whenever I try I feel like I’m merely describing an actor’s work––how they talk, how they move––and the best among them have a way of turning those choices into an alchemy that makes all adjectives redundant. But there are some for whom the task is twice as hard because their films do not just star them, but adjust to their auras; it’s as if they were shaped by their presence. Lee Kang-sheng is one such actor, that...

Austrian writer-director Bernhard Wenger‘s feature directing debut Peacock, a satire that explores themes of identity and self-presentation in the social media age, inspired by rent-a-friend agencies in Japan, is Austria’s submission for the best international feature film category at the 98th Oscars.

“Matthias is a master of performance, slipping seamlessly into any role demanded by his rent-a-companion company’s clients – from art-loving boyfriend to Good Samaritan and dutiful son,” reads a synopsis of the movie. “His people-pleasing attitude has become so extreme that his girlfriend Sophia (Richter) begins to wonder if there’s any of the ‘real’ him left, plunging Matthias into an existential crisis.”

German rising star Albrecht Schuch (Edward Berger‘s All Quiet on the Western Front, Andreas Kleinert’s Dear Thomas, Nora Fingscheidt’s System Crasher) plays Matthias, with the likes of Anton Noori and Julia Franz Richter rounding out the cast.

The Austrian-German co-production...

Chiefly working as a casting director (for the likes of like Jessica Hausner and Michael Haneke) and acting since the 90s with most recent feature films in Sisi & I, Stella: A Life and Veni Vidi Vici, Markus Schleinzer‘s Michael (a horrifying true story portrait of a pedophile who locks a boy in his basement) was one of those rare times where a feature debut to break into the Palme d’Or competition at the 2011 edition of the Cannes Film Festival. His sophomore feature Angelo (which delves into the unsettling historical conditions and long-term ramifications of colonialism) premiered at the 2018 Toronto International Film Festival’s Platform section.…...

Utterly absorbing Slovenian debut reinvents the cliched idea of a Catholic girl’s sexual awakening, and proves that no teacher can be as cruel as a music teacher

This elegant and mysterious debut from Slovenian director Urška Djukić, with its superb musical score and sound design, reinvents the cliched idea of a Catholic girl’s sexual awakening. It’s also proof, if proof were needed, that no teacher in the world can be as cruel and abusive as a music teacher. We have already seen Jk Simmons’ terrifying jazz instructor in Damien Chazelle’s Whiplash and Isabelle Huppert’s keyboard monster in Michael Haneke’s The Piano Teacher; now there is Slovenian actor and musician Saša Tabaković playing a demanding, yet insidious choirmaster in charge of a group of talented, vulnerable teenage girls. The film incidentally has a lesson for any teenage person watching: if a music teacher asks you...

Stuart Ortiz’s “Strange Harvest” (2024) blurs the lines between truth and fiction as it follows a supernatural horror narrative through the framework of a true-crime documentary. It employed a pseudo-documentary structure, as seen in films like “The Poughkeepsie Tapes” (2007) and, more recently, “Lake Mungo” (2008). It’s a choice of approach, much like any other, to follow a narrative. Ortiz uses it to cover a horrifying occult-themed tale like an investigative mystery thriller. The latter of which is something that David Fincher has mastered throughout his career, particularly in projects like “Zodiac” (2007).

Fincher brings a crisp and clean digital aesthetic through his visual language, which feels unnervingly cold and distant. Unlike Fincher, Michael Haneke employs a far different approach in “Caché,” filmed almost entirely using the naturally available light. It feels intentionally devoid of conventional norms of beauty in art. Still, it manages to feel as clinical and unnerving as Fincher’s film.

In 1997, Austrian provocateur Michael Haneke made "Funny Games," one of the scariest and most confrontational films of its decade. "Funny Games" follows the plight of a placid, upper-class family of three as they trek to their lakeside cabin for a miniature vacation. As they are settling in, they receive a visit from two creepy young men in tennis whites and gloves, asking to borrow some eggs. The young men are Paul (Arno Firsch) and Peter (Frank Giering), and they clearly have a dark agenda.

As soon as matriarch Anna asks them to leave, Peter and Paul snatch a golf club and begin inflicting injuries. They reveal they have already killed the family dog, and that the remaining family members are not allowed to leave. Peter and Paul tie them up and announce they are going to play some games. These funny games involve torture, mockery, and death. At one point,...

May 1997. Austrian director Michael Haneke is preparing to show his new work at the Cannes Film Festival in France. Despite having directed three films before, Haneke is hardly a household name. With this one, however, he might make history. Anticipation builds as the audience gets settled to watch the debut of “Funny Games.” What the audience doesn’t know yet is that one-third of them will leave before the film is finished.

The film opens with a game of guess-that-composer, accompanying a long aerial shot of a car hauling a boat behind it. Once the family inside is finally revealed, so is the title card. And so is the true nature of the film. After two and a half minutes of classical music and peaceful shots of a road trip, the scene is interrupted with a red text overlay and loud, intense metal music. This will prove to be the...

"You know him?" Film Movement has revealed an the trailer for an indie thriller titled Stranger Eyes, from Singaporean filmmaker Yeo Siew Hua. This first premiered at the 2024 Venice Film Festival last fall, and it also played at the New York & London Film Festivals. After the disappearance of his baby daughter, Darren receives mysterious DVDs containing videos of his private life and most intimate moments. When he finds the mysterious voyeur, Darren turns the gaze around and confronts his own image in the other. "The truth of his identity is more complicated than it seems." Featuring legendary Taiwanese actor Lee Kang-sheng. Referencing other surveillance thrillers like Michael Haneke's Cache and Alfred Hitchcock's Rear Window, Singaporean filmmaker Yeo Siew Hua's latest film is a timely update to the genre as a meditation on voyeurism in the digital age and the contradictory desires around being seen. Stranger Eyes stars Wu Chien-ho,...

A family tragedy is examined from all sides, sifted through, considered, in Laurynas Bareiša’s skillfully directed and wounding “Drowning Dry.” The title comes from an expression meaning that just enough water has entered your lungs to arrest your breathing, but it’s not enough to kill you. With a Michael Haneke-esque impassive glaze and a Ruben Östlund-level satire of manners and emotional stuntedness in adults, the film acquires a quiet power as it plays out all possible permutations of a swimming accident that may or may not have ruined the lives of at least two families. It’s one of those movies where the ground is ever shifting beneath you, as Bareiša replays scenes you thought you understood and recontextualizes them to suggest you perhaps never did.

Two Lithuanian families are on holiday, with sisters Ernesta (Gelminė Glemžaitė) and Juste (Agnė Kaktaitė) having arguably organized the trip out of their own listlessness.

Siew Hua Yeo is looking at the surveillance thriller genre through a new lens. The writer/director has been compared to Michael Haneke and Alfred Hitchcock with his latest feature, “Stranger Eyes.” The film debuted at Venice 2024, where it was the first Singaporean film ever to compete for the Golden Lion.

The synopsis reads: “After enduring months of a fruitless police investigation into the disappearance of their daughter, a young, estranged couple, Junyang (Wu Chien-Ho) and Peiying (Anicca Panna), realize they are being filmed surreptitiously when they begin receiving mysterious packages at their door containing DVDs with footage of their daily lives. The moments captured are unnerving not only for the violation of their privacy, but for what is exposed about Junyang and Peiying’s relationship on a most intimate level. Suspecting their voyeur is responsible for taking their daughter, the couple embark on a desperate mission to seek him out,...

Mexican filmmaker Carlos Reygadas and US producer and writer Joslyn Barnes of Louveture Films are among the among the jurors for the 2025 Locarno Film Festival (August 6-16).

Reygadas’ films include Cannes competition titles Silent Life and Battle In Heaven, while Barnes’ work as a producer includes Oscar-nominated documentaries Strong Island and Hale County This Morning, This Evening, Lucrecia Martel’s Zama, and she also co-wrote 2024 awards contender Nickel Boys.

Joining them on the festival’s international competition jury are Swiss actor Ursina Lardi, best known for Michael Haneke’s The White Ribbon; and the Netherlands’ Renée Soutendijk, who won Locarno...

Although it seems on the surface to be another film confronting the #MeToo phenomenon, Ondřej Provazník’s thoughtful and quite superbly nuanced drama takes a radically different approach to the issue. At times, it certainly is a hard watch, notably in the last 15 or so minutes, but Broken Voices is not so much about sexual abuse per se as the modus operandi of the abuser.

Indeed, for most of its running time, the villain of the piece — based, visually as well as thematically, on the real-life case of Bohumil Kulínský and his scandalous 30-year tenure as leader of the Children of Prague choir — simply appears to be something of a bully, keeping his more sinister motivations firmly under wraps.

The setting is the early ’90s, and the focus of the film is Karolina (Kateřina Falbrová), a 13-year-old Czech girl who fantasizes about following her big sister Lucie (Maya Kintera) into the local choir.

Everyone has those formative movie moments. Maybe it’s a movie that filled you with awe. Maybe the movie filled you with dread. Or, perhaps, the movie challenged you in a way you weren’t used to. Such was the case with me and filmmaker Michael Haneke, particularly Caché. The synopsis broadly suggests a family terrorized by anonymous surveillance tapes that keep showing up at their door. I loved Lost Highway growing up, so Caché was a no-brainer. But I was a kid, largely (entirely) unfamiliar with French cinema, or Haneke as an artist. I didn’t get it.

Years later, as the genre really took hold of me, I jumped back to Funny Games. That I got. A true masterpiece, and yeah, that includes the English-language remake he helmed in 2007. I was also a baby cinephile, so I had to see Haneke’s Amour amid all the Oscar talk.

by Nathaniel R

Christian Friedel's "musical" debut in The White Lotus may have been a non-starter scene but the actor (of Zone Of Interest and Babylon Berlin fame) hosted the 75th Lola Awards with song and dance.

While this news is a month or so old, there are so few movie awards in the summer we feel we owe it to Germany to report on the Lola Awards since we reported on Norway's Amanda Awards last week. The Lola (aka the German Film Award) has been awarded since 1951. The biggest trophy hauls ever have gone to The Devil Strikes At Night (1958) -- which Juan Carlos and I discussed on his podcast The One Inch Barrier a few years ago -- and Michael Haneke's black and white period drama The White Ribbon (2010) which both earned 10 trophies (both also competed for at the Oscars for Best Foreign Language Feature). The...

UK-Ireland top five, June 20-22 RankFilm (origin)DistributorJune 20-22TotalWeek 1 28 Years Later (US-uk) Sony £3.9m £4.8m 1 2 How To Train Your Dragon (US) Universal £2.8m £12.7m 2 3 Elio (US) Disney £970,000 £970,000 1 4 Lilo & Stitch (US) Disney £670,000 £34.3m 5 5 Mission: Impossible - The Final Reckoning (US) Paramount £600,000 £24.7m 5

Gbp to Usd conversion rate: 1.34

Danny Boyle’s 28 Years Later has got off to a fast start at the UK-Ireland box office, beginning with £3.9m for Sony for the biggest opening of the franchise.

Playing in 707 cinemas, the film took a £5,483 average across the weekend. It has £4.8m including previews.

Its £3.9m weekend opening is ahead...

Sony horror 28 Years Later and Disney animation Elio will hope to lure audiences into UK and Irish cinemas over what is expected to be a heatwave weekend.

Danny Boyle’s 28 Years Laterleads the charge in 707 sites for Sony.

The third film in the post-apocalyptic horror franchise comes 23 years after Boyle’s 28 Days Later,which opened on £1.5m and grossed £6.4m at the box office in 2002 as well as being a surprise hit internationally, taking $83m worldwide. In 2007, the Juan Carlos Fresnadillo-directed sequel 28 Weeks Later debuted in the UK with £1.6m from 401 screens for a cume of £5.4m.

Our decision to declare Miami Vice this century’s greatest action film some eight years ago was neither made lightly nor received unanimously, but fortune favors the bold. Part and parcel of its canonization, Michael Mann’s classic streams on Criterion this July as part of Miami Neonoir, a set boasting Larry Clark’s Bully, the recently departed George Armitage’s Miami Blues, Out of Sight, Body Heat, and John Bailey’s lesser-seen China Moon. Series-wise, films about David Lynch, Picasso, and Basquiat fill out Portraits of Artists, while Summer Romances arrives just in time for you to imagine a better life than watching movies on your laptop.

July is a retrospective-heavy month: the recently restored, totally essential films of Jacques Rozier, works directed and shot by D.A. Pennebaker, shorts by Suzan Pitt, and Lino Brocka, Moustapha Alassane, Michael Haneke, and Hou Hsiao-hsien programs are complemented by an exposition of the Rolling Stones on film.

Universal’s “How to Train Your Dragon” dominated the U.K. and Ireland box office over the weekend, opening with £8.1 million ($11 million), according to Comscore.

Walt Disney’s “Lilo & Stitch” moved to second place in its fourth week, generating $1.9 million for a strong running total of $45.1 million. Paramount’s “Mission: Impossible – The Final Reckoning” followed in third with $1.6 million.

“The Salt Path” from Black Bear remained in fourth, collecting $804,146 and bringing its cumulative earnings to $8.1 million. In fifth, Lionsgate U.K.’s “From The World of John Wick: Ballerina” added £$788,495, reaching $3.5 million after two weeks.

Sony’s “Karate Kid: Legends” took sixth with $640,665 for a total of $6.6 million. Warner Bros.’ “Final Destination: Bloodlines” landed in seventh, earning $413,677 to bring its five-week tally to $15 million.

Universal’s “The Ballad Of Wallis Island” placed eighth, pulling in $325,998 for a cumulative $1.2 million. Trafalgar Releasing’s “Peppa Meets The Baby Cinema Experience” remained in the top 10 at ninth,...

How To Train Your Dragon Movie Review Rating:

Star Cast: Mason Thames, Nico Parker, Gerard Butler, and Nick Frost.

Director: Dean DeBlois

How To Train Your Dragon Movie Review (Photo Credit – Instagram)

What’s Good: The new CGI on the dragons makes them look just amazing, and while some of the designs don’t translate well to live action, overall, the dragons’ look is a huge win.

What’s Bad: The film just doesn’t justify its existence other than keeping the IP alive, while worsening some secondary characters with questionable casting.

Loo Break: The film is as tight as the original one, so there are no breaks to go to the loo.

Watch or Not?: Watch only if you’re a massive fan of the original, or if you have never seen the original animated film before.

Language: English (with subtitles).

Available On: Theaters

Runtime: 125 Minutes

User Rating:...

RankFilm (origin)DistributorJune 6-8TotalWeek UK-Ireland top five, June 6-8 1 Lilo & Stitch(US) Disney £3.5m £31.1m 3 2 Mission: Impossible - The Final Reckoning(US) Paramount £2.3m £21.5m 3 3 Ballerina(US)

Lionsgate £1.4m £1.4m 1 4 The Salt Path(UK) Black Bear £1.4m £4.3m 2 5 Karate Kid: Legends(US) Sony £1m £4.2m 2

Gbp to Usd conversion rate: 1.36

Lionsgate’s Ballerina debuted in third place at the UK and Ireland box office this weekend as Lilo & Stitch and Mission: Impossible – The Final Reckoning reigned once more.

Disney’s Lilo & Stitch remained in first place after adding another £3.5m in its third week of play.

Lionsgate’s Ballerina leads the new films at this weekend’s UK-Ireland box office, opening in 571 cinemas.

Marketed as From the World of John Wick: Ballerina, the film is the fifth instalment in the John Wick franchise, and takes place between the events of Chapter 3 – Parabellum and Chapter 4.

It sees ballerina-assassin Eve Macarro – played by Ana de Armas – train in the traditions of the Ruska Roma, to exact revenge for her father’s death.

Anjelica Huston, Gabriel Byrne, the late Lance Reddick, Norman Reedus and Ian McShane are on the cast, alongside Keanu Reeves reprising his role as Wick.

The...

Disney’s “Lilo & Stitch” held onto the top spot at the U.K. and Ireland box office for a second consecutive weekend, drawing £6.1 million ($8.2 million) to push its cumulative gross to a £25.9 million ($34.9 million), according to numbers from Comscore.

Paramount’s “Mission: Impossible – The Final Reckoning” secured second place with $4.6 million, bringing its total to $23.5 million after two weeks.

Opening in third, Sony’s franchise continuing “Karate Kid: Legends,” featuring Jackie Chan and Ralph Macchio alongside a new generation of stars, debuted with $3.5 million.

Black Bear’s “The Salt Path,” based on Raynor Winn’s memoir and starring Gillian Anderson and Jason Isaacs, bowed in fourth with $1.9 million. Trafalgar Releasing’s “Peppa Meets The Baby Cinema Experience” rounded out the top five with $1.4 million.

Further down the rankings, Warner Bros.’ “Final Destination: Bloodlines” placed sixth with $1.32 million in its third weekend, pushing its total to $12.7 million. Universal’s...

Film critic Roger Ebert once said that no good movie is truly depressing, a belief that the programmers at the American Cinematheque have taken to heart with “Bleak Week,” an annual celebration of downbeat movies. Since its inception in 2022, the series has become one of Los Angeles’ most eagerly anticipated repertory events with screenings spread across the Cinematheque’s three venues, and last year the Paris Theater in New York joined the fun with its own Bleak Week programming that featured in person appearances by Ari Aster, Isabella Rossellini and Paul Schrader.

Now in its fourth year, Bleak Week is expanding across the country — and, via the Prince Charles Cinema, across the pond to London — to hold screenings at 11 venues in eight cities. The festival kicks off in Los Angeles and Chicago (at the Music Box Theatre) June 1 to 7, continues in Portland (Hollywood Theatre) and Minneapolis (Trylon Cinema) June 6 to 12, then heads to New York,...

Updated, May 24: My final ranking of how this year’s Cannes Film Festival titles will shake out while vying for the Palme d’Or is below. Reviews and reactions to late premieres “The Mastermind” (Kelly Reichardt) and “Young Mothers” (Jean-Pierre and Luc Dardenne) haven’t startled the race too much at this point. The Palme is Neon’s to lose, with either “Sentimental Value,” or the company’s mid-festival acquisitions comprising “It Was Just an Accident,” “Sirât,” or “The Secret Agent” taking the top prize. My money is on “Sentimental Value,” which delivers on the emotion the jury looks for, but who can really be sure?

If not Neon, then the Palme could go to Mubi for Mascha Schilinski’s avant-garde tone poem of generational female anguish, “Sound of Falling.” Expect this film to win something. As for Neon, if they win the 2025 Palme, it’s their sixth in a row after “Parasite,...

Nihilism has always had a place in horror.

As Stephen King himself once said, “Monsters are real, and ghosts are real too. They live inside us, and sometimes, they win.” For every triumphant final girl waving the chainsaw of her attacker in the bright morning light, another beloved protagonist falls to the monsters that lurk in the night. Sometimes the story is just too dark and the cinematic world just a little too hopeless. But for those who’ve felt the sting of life’s bitter disappointments, that’s precisely what we want in a film. For it’s only in confronting our pain that we can find our way through to the other side. We dive headfirst into an open wound hoping to find the infection and clean it out.

Joshua Erkman’s A Desert takes this nihilistic path in a gritty story centering human monsters. On a road trip through the American Southwest,...

Johan (Gerrit Knobbe) is a reed-cutter. As “Reedland” opens, we meet him in his natural habitat, surrounded by hissing, shivering reeds shot in close-up, then in wide shot. It’s a sonic and visual maze, the natural world’s equivalent of TV static: earth-bound, mud-rooted and subtly threatening in its hypnotic, fluttering illusion of uniformity. Reeds are the perfect hiding place for horrors, as will shortly become abundantly clear, when a girl’s body is revealed in the dirt, in all its helplessness.

A violent crime fracturing a tight-knit community is hardly a new subject for arthouse cinema, but it is handled here by freshman writer-director Sven Bresser with an original eye and a keen sense of how to generate a persistent atmosphere of foreboding. It was filmed in Weerribben-Wieden in the Netherlands, and the landscape is integral to this finely calibrated mood. “Whispering” is probably the adjective most associated with reeds,...

Note: This review was originally published as part of our 2024 Filmfest Hamburg coverage. Love opens in theaters on May 16.

It takes confidence to name your film––simply and so very unspecifically––Love. Michael Haneke could get away with it for giving us the classic that is Amour. Gaspar Noé, on the other hand, came across poorly in his take on the L-word. Does Norwegian filmmaker Dag Johan Haugerud have something vital to say on the subject? In a breezy tone that soothes rather than shocks, yes. His film contemplates the many forms and possibilities of love while luxuriating in the Nordic vistas of Oslo. Not the most groundbreaking filmmaking, perhaps, but it’s pure cinematic balm that celebrates the basic, beautiful human need to connect. Fans of Joachim Trier’s work and Linklater’s Before trilogy, take note.

Itself part of a thematic trilogy about sex, dreams, and love, the...

Sound of Falling, the second feature from 41-year-old German filmmaker Mascha Schilinski, had its world premiere on Wednesday afternoon at the Grand Théâtre Lumière as part of the Cannes Film Festival, where it is playing in competition, and was greeted with a four-minute standing ovation.

Co-written with Louise Peter, the German-language drama follows four girls — Alma (Hanna Heckt), Erika (Lea Drinda), Angelika (Lena Urzendowsky) and Lenka (Laeni Geiseler) — who live, at different points over the course of a century, on the same farm in northern Germany.

Originally titled The Doctor Says I’ll Be Alright, But I’m Feelin’ Blue, the two-and-a-half hour film is the product of a 34-day shoot. It is still seeking U.S. distribution, and interest in it amongst top-tier distributors is said to be strong.

The Hollywood Reporter’s review raves that Sound of Falling “resembles nothing you’ve quite seen before, making you question...

It’s not every day you see a movie that resembles nothing you’ve quite seen before, making you question the very notion of what a movie can be. And yet German director Mascha Schilinski’s bold second feature, Sound of Falling (In Die Sonne Schauen), is just that: a transfixing chronicle in which the lives of four girls are fused into one long cinematic tone poem, hopping between different epochs without warning, painting a portrait of budding womanhood and rural strife through the ages.

The closest thing that comes to mind is probably Terrence Malick’s The Tree of Life, although this is Malick by way of Jane Campion and Michael Haneke, shifting between fleeting coming-of-age moments and scenes of resolute darkness and human cruelty. At two and a half hours, and without an easily discernible narrative throughline, Sound of Falling is arthouse filmmaking with a capital A that...

“A Normal Family” begins with the death of a family, but not the one you might expect. Before his film turns its attention to the family alluded to by its title, director Hur Jin-ho revs out the gate with a case of road rage that ends in murder. Or maybe not, if the lawyer defending the driver in question has his way.

A man is dead and his eight-year-old daughter is critically injured in the hospital, but self-interested criminal lawyer Jae-wan (“Kill Boksoon‘s” Sol Kyung-gu) is more concerned with saving the wealthy executive’s son who’s responsible for the killing. Meanwhile, the attorney’s younger brother, doctor Jae-gyu (“Arthdal Chronicles'” Jang Dong-gun), is working tirelessly to save the victim’s daughter at a nearby hospital.

The pair couldn’t be more different at first, a contrast that becomes sharper during meals they share with their wives and each...

While this summer has its fair share of sequels, leave it to Dag Johan Haugerud and Strand Releasing to roll out an entire trilogy of films across the season. Fresh off the Norwegian filmmaker’s Berlinale Golden Bear win for Dreams, the final entry in his Oslo Trilogy, all three features will begin their theatrical runs at NYC’s Film Forum across the first three months of the summer.

Love will open on May 16, followed by Sex on June 13 and Dreams on September 12 at Film Forum. The films each open on national rollouts following their respective opening dates in cities around North America. Ahead of the roll-out the first trailer for Love has arrived, along with posters for the trilogy.

Zhuo-Ning Su said in his review of the first entry, “It takes confidence to name your film––simply and so very unspecifically––Love. Michael Haneke could get away with it...

As the 15th Beijing International Film Festival (Bjiff) commences on April 18, the annual event is presenting an array of riches for cinephiles and industry professionals alike, marking a trifecta of milestones: the 130th anniversary of world cinema, the 120th anniversary of Chinese cinema, and the festival’s own 15th year.

Headlining this year’s Workshop & Masterclass series is a triumvirate of cinematic heavyweights. French acting legend Isabelle Huppert, who has appeared in over 100 films and earned multiple accolades including best actress at Cannes for “The Piano Teacher” and a Golden Globe for “Elle,” will explore “The Undercurrent Beneath the Ice” – an examination of her distinctive artistic approach that has made her a force in European cinema. The masterclass promises insights into her celebrated collaborations with directors like Claude Chabrol and Michael Haneke.

Chinese auteur Jia Zhangke, whose works like “Still Life” and “Ash Is Purest White” have earned him acclaim at Cannes and Venice,...

There’s a certain formula that often defines the recipients of the Cannes Film Festival’s prestigious top prize, the Palme d’Or. These films, especially in the last two decades, tend to have a sense of importance about them, frequently due to their sociopolitical awareness of the world (Laurent Cantet’s The Class), or of specific societal ills.

From time to time, the Palme d’Or goes to a bold, experimental, and divisive vision from a well-liked auteur, such as Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives and Terrence Malick’s The Tree of Life. But more often it’s awarded to a film in the lineup that the majority of the members on the Cannes jury can agree is good. That felt like the case for Ken Loach’s The Wind that Shakes the Barley and I, Daniel Blake, as well as Julia Ducournau’s Titane,...

Eighteen features and 10 short films will be in the lineup of the independent Directors’ Fortnight section at the 2025 Cannes Film Festival, organizers announced at a press conference on Tuesday morning.

The section will open with Robin Campillo’s “Enzo” and will also include German director Christian Petzold’s “Mirrors No. 3,” starring Paula Beer; the Ukrainian documentary “Militantropos,” from directors Yelizaveta Smith, Alina Gorlova and Simon Mozgovyi; “Dangerous Animals,” a horror film set at sea from Australian director Sean Byrne (“The Devil’s Candy”); the comedy “Peak Everything” from Canadian director Anne Émond; and the closing-night film, first-time director Eva Victor’s Sundance hit “Sorry, Baby,” which will be released by A24 in June.

The section does not convene a jury to choose the best of its films, but for the second consecutive year it will give out an audience award. Last year’s audience award, the first ever given out by any section at Cannes,...

In a back room of a Luxembourg Hotel, Tim Roth sips a coffee, leans back, and asks me what else I’ve got. We’ve only been talking for ten minutes, but something about the actor’s quick-fire London gab has caught me off guard. I quickly scour my notes, eyes landing on “Sepp Blatter,” the disgraced former FIFA president who Roth played in United Passions, a much-derided puff piece from 2014. “Oh, my God,” the actor responds. “Oh, that was terrible. But that meant getting the kids through college with no student loans. And it worked!”

When the time comes to take stock of Tim Roth’s remarkable career, Blatter’s name won’t trouble the opening paragraphs. Yet there is something strangely fitting about its place in the Roth oeuvre: as emblematic of the actor’s wild variety of choices as the willingness to take a check or two...

Looking for bold new work from first- and second-time feature filmmakers? Look no further than New Directors/New Films, the New York City festival that annually highlights them. Now in its 54th year, New Directors/New Films (Nd/Nf) returns to New York April 2 through 13, hailing from the Museum of Modern Art and Film at Lincoln Center.

Sarah Friedland’s debut feature, “Familiar Touch,” will open the festival with its New York premiere. The drama centers on a dementia-suffering octogenarian Ruth (Kathleen Chalfant), who has a surreal experience after relocating to an assisted-living facility. The film nearly swept the 2024 Venice Film Festival Orizzonti Competition, winning Lion of the Future, Best Director, and Best Actress for Chalfant.

The festival closes with the post-Sundance New York debut of the stylish “Lurker,” directed by Emmy-winning “Beef” and “The Bear” writer and producer Alex Russell. Théodore Pellerin stars as a retail worker who becomes...

Ryûsuke Hamaguchi, Christopher Nolan, Spike Lee, Chantal Akerman, Theo Angelopoulos, Lynne Ramsay, Tsai Ming-liang, Michael Haneke, Lee Chang-dong, Terence Davies, Shōhei Imamura, Bi Gan, Hou Hsiao-hsien, Jia Zhangke, Wong Kar-wai, Yorgos Lanthimos, Denis Villleneuve, Céline Sciamma, Guillermo del Toro, Kelly Reichardt, and RaMell Ross––those are just a few of the filmmakers introduced to New York audiences at New Directors/New Films over the last half-century.

Now returning for its 54th edition at Film at Lincoln Center and the Museum of Modern Art from April 2-13, this year’s lineup features 33 new films, presenting acclaimed titles from Berlinale, Cannes, Locarno, Sundance, Rotterdam, and more. Ahead of the festival kicking off next week, we’ve gathered our recommended films to see, and one can explore the full lineup and schedule here.

Blue Sun Palace (Constance Tsang)

Shot largely on location in Queens, Blue Sun Palace explores a hidden culture and milieu.

Bill Murray's pick for his career-best performance may surprise fans. The Hollywood legend recently singled out 2005's forgotten comedy Broken Flowersas the work he's most proud of.

Murray is frequently recognized as one of the greatest comedy stars of his era, with his performances as parapsychology professor Dr. Peter Venkman in Ghostbusters, jaded TV executive Frank Cross in Scrooged, and smooth-talking news reporter Phil Connors in Groundhog Day among his most notable roles. The actor's 2005 portrayal of an aging playboy in Broken Flowers earned praise from critics at the time of release, but flew under the radar for many.

Bill Murray Says Broken Flowers is His Best Movie Performance

During a recent appearance onHot Ones, Murray looked back on career highlights in between downing extremely spicy chicken wings without flinching. Host Sean Evans asked Murray if he'd even given a screen performance he knew he could never top.

"I thought the movie Broken Flowers,...

Cinema is a great medium for telling meaningful, relatable and entertaining stories that cover a range of tropes and themes, such as the hero's journey. From expansive franchises to cult classics, cinema has produced a range of compelling, dynamic, tenacious heroes. However, every great hero needs an equally formidable villain who represents the opposing qualities of what makes a hero. Though some films have morally complex and nuanced foes, others have unambiguously evil threats.

Movie villains serve as a way to create contrast for their heroes and can take them to the edge of their moral philosophies, showing that even in their darkest hour, they remain on the side of good. Some villains are much eviler than others, and some are practically the embodiment of an irredeemable, classically evil threat. These characters are among the best-received bad guys on film, and that only becomes truer as they embrace their love of pure,...

Filmmaking is a form of self-expression: “The most personal is the most creative”. Remember that? Well, that’s quite true most of the time. This generation of filmmakers, such as Gasper Noe, Lars von Trier, and Michael Haneke, do not hesitate to leave their imprint and personal style on their film, irrespective of how that makes the audience feel. They’ve developed a warning system to offset any unwilling takers and keep their films limited to ‘their’ audience. Beyond these names, there are many films etched in movie history that are similarly eerie in tone. We’ve tried to make a list of such unsettling movies (while deliberately missing out on a few). Let us know in the comments the ones you feel should’ve made the cut.

Honorable Mention: The Skin I Live In (2011)

A Pedro Almodovar film can never feel empty. Even if the performances don’t live up to your expectations,...

The Museum of Modern Art and Film at Lincoln Center has announced the full lineup for the 54th edition of New Directors/New Films, unspooling at MoMA on April 2–13.

The event, presenting 24 features and nine short films — including 20 North American or U.S. premieres — will open with Sarah Friedland’s Venice award-winner Familiar Touch and close with Alex Russell’s Lurker from Sundance and Berlin. Both are New York premieres.

Familiar Touch, Friedland’s debut, won three top prizes in the 2024 Venice Film Festival Orizzonti Competition and showcases an astonishing performance by Kathleen Chalfant.

Russell’s feature debut Lurker, is a tense thriller about the darker side of pop-star worship.

Films in the Nd/Nf program probe a diverse array of themes, including community and co-existence, family histories, the lives of artists, global political issues, and the complexities of youth and coming of age. A number of works experiment with hybrid forms,...

After showcasing work from the likes of Ryûsuke Hamaguchi, Hou Hsiao-hsien, Kelly Reichardt, Pedro Almodóvar, Souleymane Cissé, Jia Zhangke, Spike Lee, Lynne Ramsay, Michael Haneke, Wong Kar-wai, Agnieszka Holland, Denis Villeneuve, Luca Guadagnino, and more, New Directors/New Films is back for their 54th edition, taking place from April 2-13 at Film at Lincoln Center and the Museum of Modern Art. The 2025 lineup has now been unveiled, including Sarah Friedland’s Opening Night selection Familiar Touch, Alex Russell’s Closing Night selection Lurker, as well as more acclaimed features such as Invention, Drowning Dry, Fiume o morte!, No Sleep Till, Two Times João Liberada, Timestamp, and more.

Dan Sullivan, 2025 Nd/Nf Co-Chair and Flc Programmer, says, “The lineup for this year’s edition of New Directors/New Films inevitably reflects the uncertainties and tragedies of our global situation in 2025, yet it also evinces the sheer resilience of cinema and the...

The 54th annual New Directors/New Films festival is almost here. IndieWire can unveil this year’s lineup of the beloved program from theMuseum of Modern Art and Film at Lincoln Center. The 2025 New Directors/New Films (Nd/Nf) will take place April 2 – April 13.

Sarah Friedland’s debut feature “Familiar Touch” will open the festival with its New York premiere. The drama centers on octogenarian Ruth (Kathleen Chalfant) who has a surreal experience after relocating to an assisted-living facility. The feature earned three awards in the 2024 Venice Film Festival Orizzonti Competition, including the Lion of the Future, Best Director, and Best Actress for Chalfant.

Nd/Nf will close with the New York premiere of buzzy Sundance 2025 film “Lurker,” directed by “Beef” and “The Bear” writer and supervising producer Alex Russell. Théodore Pellerin stars as a retail worker who becomes obsessed with an up-and-coming musician (Archie Madekwe). “Lurker” is Russell’s feature directorial debut.

Turns out you don’t have to be Irish to be lucky come March. That’s right, repertory cinemas from coast to coast will be raining down four-leaf clovers in the form of cinematic gems like “Matewan,” “The Watermelon Woman,” “The Cable Guy,” and many more. And we know what you’re thinking…you just got through slamming back Oscar film after Oscar film, maybe it’s time to take a little break from the movies. After all, spring’s around the corner — it might be nice to step outside for a bit, breathe in the fresh air.

Well, you’re wrong.

Fresh air is for people who can’t appreciate a random assortment of food scents and possibly carbon dioxide from a leaking soda machine tank. You’re of a different breed and as such, we know there’s no better place for you than the comfy cozy darkness of your local cinema.

Brady Corbet is proving himself to be one of the most popular voices in independent cinema. His new film, The Brutalist, has earned praise from critics and recognition from the Academy. The period drama showing a Hungarian architect in post-war America establishes Corbet as someone who takes financial risks to explore big themes.

With a rare career journey from acting in Thirteen and Mysterious Skin to the very unique directing debut on The Childhood of a Leader, Corbet’s vision has allowed him to receive various prestigious awards, like the Silver Lion of the Venice International Film Festival and Best Director Award at the Golden Globes, for The Brutalist.

Adrien Brody and Felicity Jones in The Brutalist | Credit: A24

However, Corbet’s situation landed him in the headlines again and also raised some talks about his financial situation within the industry as he surprisingly stated that he got nothing out of The Brutalist.

“From the Heart of Europe: Austria on Screen” promises to bring “an eclectic mix from hard-hitting drama to absurdist comedy” to the 2025 Glasgow Film Festival, which kicked off on Wednesday and runs through March 9.

Across 12 days, Scotland’s largest annual celebration of cinema will bring out such stars as James McAvoy, Ed Harris, Jessica Lange, Tim Roth, George MacKay and Formula 1 star Damon Hill, and screen 92 world, U.K. and Scottish premieres from 39 countries, including the Austrian showcase as part of this year’s country’s focus that puts a spotlight on new cinematic voices as well as legendary filmmaker Michael Haneke.

“We have been noticing over the past years that Austrian films were really starting to make waves on the festival circuit,” Christopher Kumar, the Glasgow Film Festival’s program coordinator tells THR.

The Glasgow team worked with the Austrian Cultural Forum in London, the Roland Teichmann-led Austrian Film Insitute,...

A remake that took two years to make couldn’t entertain its audience fully for more than two hours and managed to stay on the right lane only for half its runtime. “Vidaamuyarchi” (meaning: Perseverance) is a Tamil road action film starring Ajith Kumar as Arjun, Trisha Krishnan as Kayal, Arjun Sarja as Rakshith, Regina Cassandra as Deepika, and a mix of some Indian and Azerbaijani actors. Directed by Magizh Thirumeni, the film attempts to deliver a gripping action thriller but ends up diluting its core by focusing on unnecessary emotional baggage.

Arjun, the protagonist, was a charming man in his early days but has grown bitter over time. Kayal, once drawn to his presence and personality in their youth, was deeply in love with him. That was twelve years ago. Now, the once-happy couple is struggling with their marriage, on the verge of separation. Before the divorce, an unexpected...

Brazilian filmmaker Walter Salles and Filipino director Lav Diaz are among the five Masters invited to the 11th edition of the Doha Film Institute’s Qumra lab.

Hong Kong filmmaker Johnnie To, Mexican costume designer Anna Terrazas and Iranian-French cinematographer Darius Khondji round out the 2025 Masters.

The 11th edition of Qumra will run from April 4-9 in Doha, Qatar.

The Masters will give one-on-one mentorship to the Qumra lab participants, and will each give a masterclass about their careers.

Salles is nearing the end of an awards campaign for his 10th feature film I’m Still Here. The film debuted in competition at Venice last year,...