Given that hookups are inherently quick and casual and impersonal, they are rarely portrayed in a romantic light. But Weekend flips the script on one-night stands by giving its two lovers enough time and space to explore how far their feelings can take them. While both Russell (Tom Cullen) and Glenn (Chris New) are gay, they have more differences than similarities with each other. Russell is reserved, awkward, and not entirely open, while Glenn is the exact opposite. 

This makes for intriguing conversations, which then makes for a smart, thought-proving watch. It’s talky but meaningful, and slow but assured. But most of all it’s romantic, and it’s sure to pull at your heartstrings the whole time. 

Despite being remade, parodied, and absorbed into pop culture over the years, the original Ring defiantly marches to the beat of its own drum. Focused entirely on building a slow-burn mystery instead of dispensing scares, the film provides ample space for a number of interpretations: on the spread of technology, the erasure of traditional beliefs, or even motherhood. It’s all relentlessly quiet and extremely creepy, the tension building with the same energy as ghost stories told around a campfire. And while famous for its eerie images and the rules surrounding its cursed videotape, Ringu also serves as a reminder that great horror should compel the audience to keep on watching, even if they already know exactly what awaits them if they do.

Led by Rosy McEwen’s commanding performance brimming with fear and self-loathing, Blue Jean pours all of the anguish and defiance felt by the LGBTQ+ community under Margaret Thatcher’s administration into a single character. Writer-director Georgia Oakley keeps her plot light, but through conversations with other beautifully portrayed queer women (especially those played by Kerrie Hayes and Lucy Halliday), she piles on one conflicted emotion after another about what this lesbian woman’s responsibility is toward herself and her community when they find themselves threatened. But even as the film takes a definite stance, it validates every response as authentic—borne out of a need to protect the people whom one loves.

The film for which Kristen Stewart became the first American actress to win the César Award. The Twilight star turned indie prodigy plays next to another award favorite, Juliette Binoche, as her assistant. When rehearsing for the play that launched her career many years earlier, Binoche’s character, Maria, blurs the line between fiction and reality, her old age and her assistant’s young demeanor, and the romance story portrayed in the play and her own life. The movie itself is stylized as a play, adding another interesting layer of artistic creativity to the complex plot line. A film for film lovers.

This movie originally caught my eye for all the attention it got at the Cannes festival, but I assure you, all of the hype is more than warranted. Two Days, One Night takes you on an emotional journey with Sandra, recovering from depression and ready to get back to work, when she discovers that her co-workers, having to choose between receiving a bonus and Sandra keeping her job, hold her fate in their hands. And thus, barely convinced herself and with her husband as her only support, she sets out on an unlikely mission to convince the people to vote against the bonus so that she still has a salary.

This movie will strike a chord for anyone who has encountered depression or even simply tried to understand the abstract concept that it is. Marion Cotillard flawlessly portrays through Sandra the desperate struggle of having to put up a fight despite the utter hopelessness that she finds herself drowning in. At strife with herself, watching her try even though every cell in her body has given up, is gut-wrenching and awe-inspiring at the same time. Before long Sandra’s fight on the lay-off and on her own hopelessness seem to blur together. Whether she wins, is what keeps you hooked to the very end.

Audition is not for the faint of heart. It’s shockingly violent and deeply unsettling, filled with sights and sounds that will haunt you for days on end. But there is grace to its terror; it’s profound and artistic in ways that elevate it from generic horror fare.

On a deeper level, Audition is about the destructive power of abuse, trauma, and loneliness, about how a society that neglects to recognize this eventually suffers from it. The revenge plot isn’t merely individual, as well, but a representation of the female subconscious: tired of objectification, eager for redress. And everything about the way the film is made, from the shaky camera and titled frames to the dramatic shadows and eerie lighting, reflects that imbalance. 

Audition may be chilling and gruesome, but it’s also smart and important, a psychosexual thriller that captures female anger well before it became the rage. 

While it would be easy to make comparisons to The Good Place and other shows and films dealing with the afterlife, Hirokazu Kore-eda’s film is devoted to a single thing: commemorating the ordinary moments that make our life precious. Through little more than workplace banter and documentary-style interviews (with an ensemble delivering uncannily naturalistic performances), After Life reminds us how beautiful the mundane can be and how important it is for us to be present for each other in the everyday. And as the fim’s characters prepare to create reenactments of each person’s most precious memory, Kore-eda also defines filmmaking itself as an act of comfort and empathy. No existential crises here; an overwhelming sense of peace floods After Life, making it all the more memorable.

A very touching film about Japanese children who are abandoned by their mother in their apartment and left on their own. It’s movie that perfectly encapsulates the world of kids and its alignment with this story is both heartbreaking and joyful. Their innocence will make you smile from ear to ear until moments come where you will shed tears. This is a film everyone should have watched, it breaks my heart how little-known it is.

Les Glaneurs et la Glaneuse (The Gleaners and I) is one of the late Agnès Varda’s great documentaries. The film follows “gleaners”—scavengers and collectors of discarded garbage or abandoned items—from the French countryside into the city. The first of Varda’s subjects recalls, “Gleaning, that’s the old way,” marking a clear distinction: old versus new, rural versus urban, wasted versus repurposed.

Fans of Varda will recognize the signature tenderness with which she approaches both her subjects and their objects. Those new to her work will be sure to find something familiar in this documentary: a film largely about loss, but which approaches its ideas of modernization and time with humor and lightness. Among the rubble, there is joy yet to be found—and in this documentary, there is a great comfort, too, to be gleaned.

The Square is a peculiar movie about a respected contemporary art museum curator as he goes through a few very specific events. He looses his wallet, his children fight, the art he oversees is does not make sense to an interviewer… Each one of these events would usually require a precise response but all they do is bring out his insecurities and his illusions about life. These reactions lead him to very unusual situations. A thought-provoking and incredibly intelligent film that’s just a treat to watch. If you liked Force Majeure by the same director, The Square is even better!