Guillermo del Toro has delivered another visual marvel with Frankenstein, a film that distills Mary Shelley’s novel down to its most essential and enduring question. What does it mean to feel human, and who gets to claim true humanity. Del Toro approaches the material with a clarity of purpose that feels both bold and deeply reverent. The result is one of his most haunting and emotionally direct works.

Raoul Peck’s Orwell: 2+2=5 is a powerful, almost overwhelming documentary that treats George Orwell’s life and work not as historical artifacts but as living, breathing alarms. From its opening moments, the film radiates urgency. Peck draws a clear line between Orwell’s warnings and the political fractures of today, and the effect is both bracing and unsettling.

Nia DaCosta’s Hedda is a sultry, slow-burning drama that is far more interested in mood and power dynamics than narrative momentum. Loosely updating Ibsen’s Hedda Gabler, the film situates its characters inside a decadent mansion that feels less like a home than a gilded trap. Everything here is polished, controlled, and faintly poisonous.

Kleber Mendonça Filho has never been shy about his love for Brazil. The beauty, the contradictions, the ghosts that never quite settle. The Secret Agent may be his most fully realized expression of that affection. It is a film steeped in atmosphere, humid with politics and memory, and directed with the confidence of a filmmaker who knows every street and shadow of Recife instinctively.

Civil War is an excellent, violent exploration on how we choose to end the story, presciently arriving to theatres at a time when all the safeguards to the collapse seem to be tenuously holding together

Sometimes I Think About Dying quietly explores the familiar and safe danger of monotony with some of the most accurate scenes of office dynamics to hit the big screen. Daisy Ridley’s silent Fran is some of her most captivating work.

They said I live in the shadows. I am the shadow.