Leviticus
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.
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?
The festival remains a reliable space for debuting and emerging filmmakers with singular talents willing to challenge themselves (and audiences) to expand the language of cinema.
David Lowery’s new movie is, in many ways, unclassifiable, flirting with different genres and featuring a mise-en-scène both restrained and grandiose at once.
Can a revelation from the past be decisive enough to doom a relationship?