Nataliia Serebriakova

In a context where attention is fragmented and compassion often fatigued, We, Our Pets and the War insists on a simple, undeniable truth: the way people treat animals in moments

... a film about an author in crisis — an artist searching for a new form but becoming trapped within his own imagery.

… deliberately controlled, almost austere.

Fatherland is not only about the past. It is a warning about the cyclical nature of history and the dangers of forgetting.

At last year’s Cannes Film Festival, Chilean director Diego Céspedes emerged as one of the most striking debut voices — not only because of the emotional depth of his film

… spectacle without substance: a film that gestures toward scandal and intensity but offers little emotional resonance or intellectual insight in return.

The film’s greatest revelation is Sandra Hüller’s performance

… a stylised masquerade that invites the viewer to surrender to its strange, campy logic.

An observational chronicle of Ukrainian schools during wartime becomes both testimony and resistance.

Paolo Sorrentino speaks about euthanasia, political responsibility, generational dialogue, music, and his continued collaboration with Toni Servillo. What emerges is a portrait of a filmmaker deeply preoccupied with moral dilemmas