Romería
Carla Simón's third feature is a truly special film—and her best yet. She captures the dynamics of family life with all its secrets, regrets, and resentments.
Carla Simón's third feature is a truly special film—and her best yet. She captures the dynamics of family life with all its secrets, regrets, and resentments.
Director Olivia Wilde's greatest asset is the chemistry among her quartet of performers. It is also worth remembering how committed and versatile Wilde can be as an actress.
Three standouts that should not be missed upon their deserved theatrical releases: a modern adaptation of Virginia Woolf’s Mrs. Dalloway, a mesmerizing romantic drama, and an unpredictable show-business comedy.
Director Adrian Chiarella’s feature debut stands out for the way it translates its ideas both visually and narratively, further confirming 2026 as an exceptional year for new voices in horror.
This summer, a movie spoof arrives, riffing on the disaster-film genre, but with a variation never attempted before, or at least not on this scale: Make it gay, make it drag, make it unabashedly queer.
A peculiar and unclassifiable ghost story, delightfully subversive in the way it unfolds under bright summer sunlight, in wide-open and illuminated spaces.
Because of its overwhelming visual and sensory labyrinth, Backrooms is a fortunate marriage of an attractive concept and compelling execution.
What happens when you have three half-baked premises stacked together to form something only marginally coherent?