Caitlin Quinlan

Were it not for the transcripts, Reality would be a more straightforward addition to the already-oversaturated true crime genre. Satter’s handling of the material and Sweeney’s performance, however, bring this into a more intriguing space where questions of narrative truth, perception and the punishment for honesty are addressed.

This is a controlled and impressive debut from Le Bon that hints at talent to come and offers a warm, if not always unique, approach to the growing pains of young love.

Haslett writes that the riotsvilles were the places, “where the state assembles its fears.” Pettengill’s film is an invigorating indictment of these constructed falsehoods – their fears, their riotsvilles, their scapegoats and their reasons for destruction.

As a folkloric meditation on the relationship between human and environment, mother and child, Alegría’s film has an earthly mystical quality to it, moving through its minimal plot with fluidity and enticement.

The power of Alcarràs lies in the filmmaker’s care for and understanding of her subject which, as with Summer 1993, is a story taken from her own life and examined on screen with a deceiving charm that gives way to a deeply emotional narrative.

Kreutzer crafts an elegant portrait that grants this historical figure a new lease of agency and autonomy.

In his idyllic city symphony, Koberidze celebrates the serendipity of fate and the rhythms of daily life that bring together what is meant to be.

Even as TO’s quest revolves around personal freedom, individuality, and reaching a quasienlightenment, there is a conflict between his agency and the film’s metaphysical tone.

Wandel displays her clear skill as a director of actors in this exercise, but there is the sense that this could have been a painfully visceral short film instead of elongated into a feature where it begins to feel overdone.

Brühl works confidently as a director and star, however, hopefully with the potential to be a little more ambitious in the future.