Films

Idiots

2026

Mutiny

2026

The Rivals of Amziah King

2026

Tony

2026

Teenage Sex and Death at Camp Miasma

2026

The Magic Faraway Tree

2026

The Salt Path

2025

Hope

2026

A remote South Korean coastal village is under siege from something the locals can't quite name or agree on — and that collective failure of perception is where Na Hong-jin plants his film. The director of *The Wailing* builds *Hope* as a genre puzzle that passes through procedural investigation, creature panic, and something closer to cosmological dread, each register undercutting the one before it. Police chief Bum-seok and officer Sung-ae arrive to manage a crisis that keeps expanding its own terms. With a cast spanning Hwang Jung-min, Zo In-sung, Hoyeon, and Alicia Vikander, it operates on Na's characteristic principle: the more clearly characters think they see, the worse their decisions become.

23 000 Lives

2026

A group of young Berliners — nonprofessionals, driven rather than trained — crowdfund a decommissioned vessel and sail it into the Mediterranean to pull refugees from the sea. Markus Goller builds the film as an activist procedural: less interested in the voyages themselves than in the legal and institutional friction that accumulates around them, as the crew's improvised mission collides with maritime law, European politics, and their own conflicting ideas about what doing the right thing actually permits. Louis Hofmann and Mala Emde lead a cast working in a register that stays close to the documentary texture of the events the film draws from.

Desire

2026

Lucero's household runs like a proof of concept: the wealthy husband, the children, the arranged life. Teresa Simone builds the film as a domestic thriller that keeps its pressure entirely interior for as long as possible — the danger is relational rather than physical, arriving through accumulated compromises rather than incident. When a young swimming coach enters the family orbit, what follows is a triangle that eventually draws in Lucero's daughter, shifting the dramatic weight from affair to something closer to rivalry. Ludwika Paleta and Óscar Casas carry the central pull; the film's engine is the slow collapse of the distance Lucero thinks she can maintain.

The Breadwinner

2026

Nate Wilcox has spent his whole adult life as the family's earner; when his wife Katie lands a deal on *Shark Tank* and leaves for an extended business trip, he's suddenly the one holding down the house. Eric Appel builds the film as a domestic role-reversal comedy, running the joke not on incompetence but on the specific disorientation of a man whose identity was built around a function he no longer has. Nate Bargatze and Mandy Moore play the couple, with Bargatze's deadpan understatement carrying most of the weight once the premise kicks in and Katie exits the frame.

Heartstopper Forever

2026

Kit Connor and Joe Locke return as Nick and Charlie for what is framed, structurally, as a culmination: the film picks up the Truham-Higgs ensemble at the threshold of life after school, with the central relationship now settled enough that the drama turns on what comes next rather than what's being negotiated. Wash Westmoreland works in a register closer to bittersweet pastoral than the series' lighter early chapters — the same world, the same ensemble including William Gao and Yasmin Finney, but with the calendar pressing down on it. It's a romance that shifts its weight from becoming to continuing, asking what a relationship looks like once the first version of the story is over.

Evil Dead Burn

2026

A widow arrives at her late husband's family home still absorbing the loss, only to find the in-laws are descendants of a demonology researcher whose work left a residue. As they transform one by one into something that feeds on fear, the film becomes a siege picture with a very particular set of rules about what marriage means when one spouse is already gone. Vaniček structures Evil Dead Burn as an inheritance drama that collapses into creature horror — the domestic and the demonic running on the same track until they can't be separated. Souheila Yacoub carries the emotional logic of the escalation, which is what the premise needs: a lead whose grief stays legible even as the film turns increasingly extreme.

The Furious

2026

Descendants: Wicked Wonderland

2026

The fourth chapter of the Disney Channel Descendants franchise picks up where the time-travel reset of the previous installment left off: the altered past has produced a new threat, and Red and Chloe find themselves assembling a fresh ensemble to contain it. Kimmy Gatewood structures the film around the familiar franchise rhythm — a mixed coalition of villain kids and hero kids learning to trust each other while the larger threat closes in — but the Wonderland setting keeps the visual grammar tilted toward the surreal rather than the courtly. Kylie Cantrall and Malia Baker return as the central pair, with Rita Ora lending adult-cast weight to proceedings that otherwise run on the energy of its younger ensemble.

Avengers: Doomsday

2026

The Russo brothers return to the franchise they last handled with *Endgame*, this time assembling characters from three distinct Marvel universes on a collision course. Robert Downey Jr., Chris Evans, and Chris Hemsworth are joined by Pedro Pascal in what the premise frames as a crossover operating at a larger structural scale than the series has previously attempted — the threat here cuts across continuities rather than converging on a single timeline. Built on the brothers' established preference for ensemble action that sequences its set-pieces around character geography, the film positions itself as an event in the formal sense: a film whose architecture depends on which version of each hero the audience is watching, and why that distinction matters.

Scary Movie

2026

Twenty-six years after the original Core Four survived a masked killer whose very existence felt like a copyright violation, the gang reassembles for another round. Michael Tiddes directs the Wayans brothers and Anna Faris and Regina Hall back into a franchise that built its reputation by running genre conventions through a blender — jokes arriving faster than the plot, parody operating less as commentary than as maximum-density reference fire. The 2026 iteration promises no horror IP will be left standing, which frames the whole enterprise as a catalog sweep: how much has accumulated since 2000, and how much of it survives the treatment.

Get Out

2017

A Black man visits his white girlfriend's family for the weekend — the early unease readable as social friction, the parents' calibrated warmth as liberal anxiety performing itself. Jordan Peele builds the film as a genre piece that weaponizes assimilation dread, loading its horror into the textures of politeness before the mechanisms underneath become visible. Daniel Kaluuya carries almost every scene, and his performance does the essential work: Chris's careful, watchful composure makes the gathering wrongness land as social reality first and genre threat second. The horror architecture, when it arrives, is specific enough to feel earned rather than borrowed.

Aftersun

2022

A woman in her early thirties sifts through camcorder footage from a Turkish resort holiday she took with her father when she was eleven, trying to assemble, from what the tape captured and what it missed, a picture of who he actually was. Charlotte Wells structures the film around that gap — between childhood perception and adult reckoning, between the footage that exists and the memories pressed against it — building a portrait less from event than from texture and accumulation. Paul Mescal and Frankie Corio play the pair with an ease that makes the distances between them legible without explanation. The formal method is ellipsis: what the film withholds does as much work as what it shows.

The Holdovers

2023

Paul Giamatti plays a classics instructor so comprehensively disliked by his students that being assigned to supervise the handful left behind over Christmas break reads less as punishment than confirmation. Alexander Payne builds the film as a three-character chamber piece set against the snowbound quiet of a New England prep school — a curmudgeon, a sharp and directionless teenager, and a cook newly bereaved by Vietnam, each stranded in their own way. The comedy and the grief are kept in the same register throughout, neither subordinated to the other, and the film's method is essentially to let proximity do the dramatic work.

Heat

1995

Two professionals on opposite sides of the same compulsion — that is the engine Mann builds and sustains across nearly three hours of Los Angeles crime proceduralism. Neil McCauley runs heists with the discipline of a career soldier; LAPD detective Vincent Hanna tracks him with the same consumed intensity. The film's formal bet is that mirroring these men closely enough — their methods, their domestic wreckage, their mutual recognition — makes the city itself feel like the stakes. De Niro and Pacino share only a handful of scenes, which makes each one carry the weight of the entire runtime. The result is a procedural that keeps its moral architecture horizontal rather than vertical: pursuer and pursued rendered at the same level.

Friends & Neighbors

2023

Graphic Desires

2023

Over Your Dead Body

2026