Georgi M. Unkovski, in his first feature-length film, brings us to the country of North Macedonia to show us the life of music in their corner. DJ Ahmet (2025) is about a 15-year-old shepherd boy from a small Macedonian village.
Flora Lau’s LUZ (花明渡) follows two narratives intertwined across three distinct settings. The main storylines take place in Paris and Chongqing, both connected through virtual reality.
Katarina Zhu proves to be a triple threat in her debut feature film Bunnylovr (2025), which premiered at the Sundance Film Festival this January.
Divided into chapters and in jumbled-up chronology, Sorry, Baby takes us back in time to show us the ghost, and then through the years between then and the present. Years are defined by chapter titles and defining incidents: “The Year With the Bad Thing,” “The Year with the Questions,” “The Year with the Good Sandwich.” What emerges is a slow, vibrant picture of a life before, during, and after trauma, shown to us in glimpses.
Carmen Emmi’s feature-film debut, Plainclothes, follows Lucas (Tom Blyth), a talented young police officer in the 1990s who works undercover to entrap and arrest gay men. The complication? Lucas is secretly gay himself, and his carefully concealed world begins to unravel when he falls in love with one of his targets.
This coming-of-age film is set in a small town, where the food and drinks from the local deli mean community, and conversations are more than just segues into reunions between old friends. We spoke to co-directors and writers Benjamin Cohen and Max Strand about their experience making the film together as childhood friends, curating distinct character arcs, and the role of nostalgia in film narrative and form.
The comedy-drama film follows two young newly-wed brides who get exchanged during a train ride to their husband’s homes, offering a uniquely Indian commentary on female agency and identity. We talked with director Kiran Rao about what it’s been like to represent India on a global screen, intersectionality, and her plans for the future.
In an unexpected yet welcomed opportunity, I had the chance to speak with Director Nebojša Slijepčević about his Cannes Palme d’Or winning short film The Man Who Could Not Remain Silent (2024).
By the time I got to the first cooking scene, I didn’t care that I was about to see food; I wanted to know if our heroes could get sustenance in order to rescue their fallen ally.
Namjoon presents his uncensored feelings through an eclectic mix of genres and an exploration of whether he’s been living the right way as both Namjoon, a guy in his 20s, and RM, leader of world-renowned K-pop group BTS.
‘Muse’ is not Jimin saying, “I was sad, but now I’m happy and in love.” It is, instead, a refreshingly honest look at how one emerges from a low point—a cautious, curious exploration of how to love and be loved again.
The kids riding bikes, the crawling through gutters, the guardrails, the fence, the isolation in a crowd—when I saw “Domodachi,” I saw Hirokazu Koreeda’s 2023 film Monster echoing through every frame. It is a reference I did not expect and a word I have not related to Namjoon for a long time.
