Festivals

Baan – first-look review

By Marina Ashioti

In Leonor Teles's enigmatic second feature, spatial experimentation becomes geographic gap-bridging material.

Sweet Dreams – first-look review

By Marina Ashioti

Ena Sendijarević hits the sweet spot with this offbeat, surreal period piece set on a remote Indonesian island.

Animal – first-look review

By Marina Ashioti

Dimitra Vlagopoulou gives a knockout performance in Sofia Exarchou's resort-set second feature about a group of seasonal performers.

Marseille Film Festival explores cinema as a medium of escape

By Kitty Grady

A world away from the glitz and glamour of Cannes, another French coastal city aims to build a more inclusive and challenging vision of a film festival.

A journey through the past at Il Cinema Ritrovato

By Esmé Holden

What can a film festival dedicated to the screening of older cinema tell us about the present state of audience engagement with movie watching?

In Camera – first-look review

By Hannah Strong

Naqqash Khalid's inventive feature debut is a spiky take on navigating the British film industry as a non-white actor and trying to find your identity amid the hostile present day.

The Hypnosis – first-look review

By Hannah Strong

A power couple on the brink of pitching their start-up experience unexpected tension after a hypnotherapy session causes one of them to lose all their social inhibitions.

Red Rooms – first-look review

By Hannah Strong

Pascal Plante presents a piercing take on true crime in this austere, affecting psychological thriller.

Fremont – first-look review

By Hannah Strong

A young Afghan immigrant finds herself adrift in San Francisco in Babak Jalali's poetic fourth feature.

Justine Triet’s Anatomy of a Fall wins the 2023 Palme d’Or

By David Jenkins

The psychological courtroom thriller with the great Sandra Hüller wins the top prize at the Cannes Film Festival.

Riddle of Fire – first-look review

By Hannah Strong

Three precocious kids set out on a quest for blueberry pie in Weston Razooli's throwback adventure film.

The Old Oak – first-look review

By Mark Asch

In what could be his final film, Ken Loach turns his eye to UK immigration, focusing on a pub landlord in a town reckoning with a new population of Syrian refugees.

La Chimera – first-look review

By Mark Asch

Josh O’Connor breaks out his halting Italian as a grave-robbing rascal in Alice Rohrwacher’s divine exploration of time, history and memory.

Kidnapped – first-look review

By Mark Asch

Italian veteran Marco Bellocchio’s adaptation of David Kertzer’s The Kidnapping of Edgardo Mortara is an occasionally enthralling, yet often staid and repetitive affair.

Last Summer – first-look review

By Sophie Monks Kaufman

French provocateur Catherine Breillat returns with strange film about a transgressive sexual relationship between a middle-aged lawyer and her teenage stepson.

Rien a Perdre – first-look review

By Catherine Bray

Virginie Efira delivers a typically committed performance opposite young breakout star Félix Lefebvre in this debut fiction from Delphine Deloget.

The Pot-au-Feu – first-look review

By David Jenkins

Juliette Binoche and Benoît Magimel play late 19th century gourmands in Tran Ahn Hung’s scintillating epic of proto-foodie passions.

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Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.

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