Every aspect of this film makes it hard to look away for even one of the 94 minutes it gives us. Girl in the Night uses the night to its advantage: blue and green lighting emphasize the monotony and mind-numbing boredom Rok feels at work, and gorgeous orange and yellow hues spread across faces and combine with waxing and waning instrumentals to raise the tension in intense physical scenes.
From a persistent foot fetish that leads to Utsugi getting Susu’s footprints engraved on his gravestone to his cartoonish rejection of anything and anyone that isn’t Susu, you can’t help but watch with a morbid and pitiful fascination as he gets lost in a relationship he’s largely projected onto his daughter-in-law.
The film is nostalgic, yet keeps moving forward. By forcing all of its characters outside with no access to an online world, it feels like it could be happening in any era. They wander the streets, play a day-long game of Manhunt, chase after the ice cream truck, bask in the sun, and have a water balloon fight all while coming to terms with the end of a chapter in their lives.
At Fantastic Fest 2026, co-Directors Scott Tinkham and Michael Woloson, and actors Joey Bader and Oliver Woolf, shared with us the process of creating Littermates, what it was like to work together, and the reasons behind focusing on siblinghood.
We had the opportunity to chat with Director Pegah Ahangarani about her process and journey in the making of Rehearsals for a Revolution. She retraces events that have influenced and shaped her personal and familial history alongside that of Iran and its people, reflecting on the significance of memory, the future, and the lives of those who refuse to give up.
Marty Waters, the VFX Supervisor of the film, had the mission to recreate the war-torn planet of Nu Earth and its toxic atmosphere. In June 2026, Rogue Trooper had its world premiere at the Annecy International Animation Film Festival, and I got the chance to speak with him about the process.
No interviewer asks Johansson an openly sexist question. What happens instead is sneakier: a slow pull toward her body, her appearance, and her personal life—even when the conversation is nominally about her work. Evans, along with her other male costars, gets pulled toward his choices, his craft, his career.
Gun belts, wide hats, and sunset duels, the cowboy has fueled the imagination of many authors, both in literature and film. Yet, the vision we have of these lonesome riders is not so faithful in depicting the real-life workers.
As the video features their tightest choreography to date alongside biting lyrics calling attention to their status as an irreplaceable powerhouse, the imitation begs the question: How does Park’s film factor into BTS’ long-awaited comeback?
