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The Seed of the Sacred Fig review—a timely thriller on the oppressive nature of theocracy

Mohammad Rasoulof's latest is a thrilling portrait portrait of an Iranian family caught up in a moment of volatile political rupture.

2073 review—Chris Marker’s La Jetée updated for a society of surveillance

Hard Truths review—Mike Leigh’s return to London is a masterclass in grief

Conclave review—papal thriller elects Edward Berger as one of our greatest directors

Queer review—sex only sells in Guadagnino’s stylish adaptation

The Room Next Door review—an understated upstairs downstairs

Pedro Almódovar’s first English-language feature, starring Julianne Moore and Tilda Swinton as reunited friends, is a jewel-toned tale of medical autonomy. 

Vermiglio review—an atmospheric Alpine pastoral

Maura Delporo's period feature set in a remote Italian village with a large cast of characters, has heart but not enough soul.

Harvest review—a brutal and earthy tale

Maria review—portrait of the artist as an older woman

From Venice Film Festival, a first look at Pablo Larraín's biopic about the legendary opera singer Maria Callas, the third instalment in the director's unofficial trilogy of misunderstood icons of the 20th century.

Happyend review—Neo Sora says the kids will be alright

Cannes 2024: Kinds of Kindness review—a triptych of elevated weirdness

Yorgos Lanthimos's follow-up to Poor Things is a return to the Greek director's weird roots, says Anna Bogutskaya.

Cannes 2024: The Substance review—a twisted symphony of blood, guts and breasts

Coralie Fargeat's second feature is a Cronenbergian tale of fame and ageing. Despite it's exhilirating body horror, the film is hollow at its core, says Iana Murray.

Cannes 2024: Megalopolis review—leap-of-faith cinema with a beating heart

Francis Ford Coppola's decades-long passion project, fails spectacularly—though it's not without meaning.

Cannes 2024: The Surfer review—a cult movie in the making 

Lorcan Finnegan's splashy follow-up to Vivarium and Nocebo offers one of Nicolas Cage's best performances.

Cannes 2024: The Second Act review—a soufflé of cinematic satire

Cannes Film Festival's inaugural film, The Second Act by Quentin Dupieux, is a film about a film which ultimately falls a bit flat, writes Andy Hazel.

Cannes 2024: The Girl with the Needle review—a sumptuously grim fairytale

Playing in Competition at the 2024 Cannes Film Festival, The Girl with the Needle is a powerful and macabre tale that confirms Magnus von Horn as a major talent.

Cannes 2024: Wild Diamond review—a tale of girlhood under the influence

Agathe Riedinger's debut film, Wild Diamond—in competition at Cannes Film Festival—excavates social media culture, but despite its glittering premise, fails to live up to its potential.

Cannes 2024: September Says review—a wonderfully weird portrait of sisters

Ariane Labed's September Says—competing as part of Un Certain Regard—is a compelling debut feature from a director who should go on to greater things.

Cannes 2024: Anora review—a star is born in Sean Baker’s blazing tale of excess

Mikey Madison lights up like a firework in Sean Baker’s Anora, in a performance that we’ll be talking about for years to come. 

Cannes 2024: Emilia Perez review—an edgy musical of style and substance

Jacques Audiard's subversive musical is deservedly pegged to win the Palme d’Or.

Caught By The Tides review—mesmerising slow-burn from one of China’s best living filmmakers

Sixth gen Chinese filmmaker Jia Zhangke repurposes his own archive imagery to create a moving tribute to his wife and muse Zhao Tao, all the while commenting on how China has changed over the years.

La Pampa review—queer motocross drama is a firehouse of emotions

La Pampa is a sensitive, spirited and quietly profound film that establishes Antoine Chevrollier as a promising filmmaker.

Berlinale 2024: A Traveller’s Needs review – a quirky tale of translation 

Hong Sang Soo’s third film with Isabelle Huppert is a rhythmically structured drama that explores the performance and perambulations of the everyday. 

Berlinale 2024: Dahomey review – Africa blossoms, Europe fades

Susan Finlay reviews Mati Diop’s ‘Dahomey’, a searching documentary about the repatriation of colonial artefacts to Africa. Watching from a controversial edition of Berlinale, she finds Germany's contemporary politics are brought to the fore.

Berlinale 2024: Janet Planet review – down-to-earth portrait of motherhood

Annie Baker's quiet debut feature explores the dynamics between a carefree mother and her questioning daughter.

Berlinale 2024: No Other Land review – weapons of violence and creation

A collaboration between Basel Adra, Hamdan Ballal, Yuval Abraham and Rachel Szor, this urgent documentary about life on the West Bank explores the resistance of memory to obliteration.

Berlinale 2024: Love Lies Bleeding review – style, sex and steroids

Rose Glass's sophomore feature is destined for cult status, writes Matthew Turner

Occupied City review – a moving archaeology of the Holocaust

Steve McQueen's 4-hour documentary about the Nazi Occupation of Amsterdam is demanding and formally simple, but not without great beauty.

All of us strangers

All of Us Strangers Review: A powerful examination of memory and grief

Andrew Haigh's queer drama is devastating, and all the more beautiful for it.

Cannes ’23: La Chimera Review

A gem from Italy's most exciting contemporary filmmaker.

Cannes ’23: The Zone of Interest Review

Jonathan Glazer's Holocaust drama is an audio-visual masterpiece that lays bare the pitch black soul of humanity.

Cannes ’23: Jeanne du Barry Review

Andy Hazel gives a first-look review at the Cannes '23 opening film 'Jeanne Du Barry'

Indiana Jones cannes

Cannes ’23: Indiana Jones and The Dial of Destiny Review

Harrison Ford's titular hero is back.

Monster Hirokazu Koreeda

Cannes ’23: Monster Review

Hirokazu Koreeda's latest is an empathetic tale of friendship and grief that wades through muddy waters to uncover innocent truths.

How To Have Sex film

Cannes ’23: How To Have Sex Review

Molly Manning-Walker's impressive debut How To Have Sex quickly becomes a dark lesson on the fine line between consent and sexual assault.

Cannes’ 23: Asteroid City Review

It's the star-studded movie of this festival—and Anderson's latest, most mature, venture has a lot to love.

Cobweb

Cobweb Review: Korean Meta Comedy Spins Too Many Threads

Korean maestro Kim Jee-woon's latest is a wacky comedy that stretches itself a bit too thin.

Foe review

Foe Review: Great premise, clunky execution

Garth Davis' third feature can't be saved by its charismatic stars Saoirse Ronan and Paul Mescal

Fallen Leaves review

Fallen Leaves Review: Retro rom-com is charming but unoriginal

Continuing his 1980s Proletariat series, Aki Kaurismaki's socially conscious rom-com feels strangely stuck in time while tiptoeing around Ukraine.