How Beef shines a light on the pitfalls of…

Having been in Ashley’s shoes in a moment like this, it’s refreshing that creator and showrunner Lee Sung Jin treats it with visceral emotional force. This revelation causes waves that ripple through the show, not just contained to a single moment for dramatic effect. The emotional cocktail of dejection and rage is shattered by the dawning realisation…

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Cannes 2026 announces its sidebar line-ups

After the Cannes Official Selection announced their first wave of titles last week, it’s now the turn of the première French film festival’s three sidebars: Director’s Fortnight, Critic’s Week and L’Acid. Since their inception these independent programming strands have helped launch the careers of some of the most exciting filmmakers around. (Long-time Cannes fans know…

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The Blue Trail review – a winding and creative…

“Taking care of our elderly is not a choice, it’s a patriotic duty,” an ominous voice from the sky declares in the opening moments of Gabriel Mascaro’s The Blue Trail. Listening carefully is 77-year-old Tereza (the veteran Brazilian actor Denise Weinberg), whose disgruntled expression only deepens when a gold-plated laurel is placed to frame her door to let…

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Capcom’s “Pragmata” is the Next Great Dad Game

“The Last of Us,” “BioShock Infinite,” and “God of War Ragnarok”. What do they all have in common? Their stories center around a central father figure protecting a young companion, whether it’d be a son, daughter, or an important character they come across. It’s a popular trope that works both narratively and gameplay-wise. You play…

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The Wizard of the Kremlin review – ludicrous and…

If an almost-three-hour is-it-spoof-is-it-not directed by a French auteur starring Jude Law as Vladimir Putin sounds a bit odd, just wait until you see it. Adapted from Giuliano da Empoli’s novel of the same name, The Wizard of the Kremlin is fashioned as a biopic for Paul Dano’s Vadim Baranov, a successful TV producer, lover of all things art…

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Rebuilding review – pleasant to a fault

The cowboy – strong but silent, a lonely figure caught between small town domesticity and the absolute freedom of the wilderness – has experienced something of a reinvention in the past few years, mostly in the hands of women filmmakers. Chloé Zhao’s The Rider and Nomadland, Jennifer Kent’s The Nightingale, Jane Campion’s The Power of the Dog and Kelly Reichardt’s First Cow all…

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