Documentarian Sam Green embarks on a 10-year journey to interview each current “oldest person in the world” and learns just as much about himself along the way.

From shots of Thurston Moore getting a malaria shot to Kathleen Hanna and Ad-Rock clearly falling for each other, Tamra Davis’ documentary The Best Summer is a wonderful artifact and time capsule of the post-Nirvana rock golden age.

Co-director Efrain Mojica returns to their rural western Mexico homeland to explore the complex queerness of jaripeo rodeo culture, where homosexuality carefully dances with hypermasculinity.

A speculative adaptation of the real-life unsolved murders of two Mexican bus drivers by an unknown vigilante, The Huntress shines a light on the continued horrors and institutional failures plaguing the women of Juárez for decades.

Part gorgeous travelogue of Hong Kong and part Before Sunrise-style talking-and-wandering movie, Kogonada’s zi works best when viewed through the lens of an artist trying to find himself again.

Indie singer-songwriter Grace Annabella Anderson on the movies that complement her debut album.

Our reviews, features, and more from the 2026 Sundance Film Festival.

We’re excited to be covering the 2026 Sundance Film Festival, which features a great lineup of feature films, shorts, and documentaries from around the world.

Much like 28 Years Later, Nia DaCosta’s sequel is a deeply strange movie that takes a lot of risks that pay off.

Author David Guterson on the movies that complement his new novel.

In Charlie Polinger’s debut feature, a tween finds himself caught between wanting to be a lackey of a water polo camp bully or living freely as a social pariah.

Kleber Mendonça Filho’s film paints a vivid portrait of life in a Brazilian dictatorship—with a dash of grindhouse, Coen Brothers, and Wes Anderson.

Educator and author Laura Danger on the movies that complement her new book.

From a Taipei night market to a rundown baseball diamond to a Mississippi juke joint, the movies of 2025 brought us unforgettable stories and characters that only humans could dream up.

Park Chan-wook’s dark-as-they-come comedy haunted me more than any horror film this year. 

Craig Brewer’s film about a Neil Diamond cover group is a beautiful representation of how making a dream come true takes a village.

Griswold’s unhinged yet somehow heroic yuletide meltdown soliloquy isn’t just madness, but American Christmas distilled to its neon, glittering core.

Like every good Christmas classic, Danny Boyle’s 2004 film points to the humanity and giving nature this season ought to draw out of us, and reminds me what this season should be about.

When a movie looks as incredible as James Cameron’s Avatar sequel does, with constantly entertaining sequences and a sheer command of every little detail on screen, the repetitive story becomes only a minor flaw.

Yes, the uncanny valley is nightmare fuel. No, we didn’t know that Hanks overload was possible. But there’s so much to recommend about Robert Zemeckis’ half classic, half bewildering holiday film.