The Films of 2026

[Boosmahn]

Na Hong-jin's Hope boldly asks the question: what if we spouted a bunch of nonsense after 140 so-so minutes and then rolled credits?

Fresh out of the theater, right now I can't get my head around that ending, but even before then I was oscillating between states of, "Oh, that's pretty cool," and genuine frustration. I didn't feel much of anything for the characters, the first hour and (unforgivably) the climactic action scene drag on and on, and the action is frequently repetitive and/or weightless.

Is Hope parody? Is it earnest? I wish I could tell. This is very, very rare for me: I feel robbed.

[Lowry_Sam]

Is Hope parody? Is it earnest? I wish I could tell. This is very, very rare for me: I feel robbed.

I'm surprised anyone would want to see it after the trailer.

[cantinflas]

Makoto Nagahisa's Burn

Very striking trailer, hopefully the whole film is this mesmerising.

Ecstatic to report that indeed it is. Watching it put me into sheer delirium and brought me to tears. Aesthetically it is off the chain with rich colouring and imagery in a stunning boxed frame, with hallucinatory sequences and knockout performances. While it's probably the most depressing film I've seen in a while it generates a real catharsis. Runaway, down and out teens finding and losing each other is the kind of film that speaks directly to me, moreso when it's in this style that gives peak detached 90s/00s vibes. Hope more people find this masterpiece.

[Soy Cuba]

'Rose'

Rose decides to set up a farm on land she inherits and the community begins to take her in as one of their own. The scenes are sometimes sparse and sometimes brutal. But Sandra Hüller, just wow. She truly deserves to be spoken about as one of the finest actors on the planet. She gives a remarkable performance here. Her worn face, her little facial movements, the way she walks, the way she shouts, the way she conveys emotion in the latter parts of the film. It’s all just gripping and amazing.

There are obvious Tarkovsky, Tarr, Pawlikowski and Haneke comparisons regarding tone and photography (cinematographer Gerald Kerkletz’ work here is outsnadning). Director Markus Schleinzer worked with Haneke on The White Ribbon so you can see that seeping through. Overall it’s a rather sad story and even more tragic to think how, in some aspects the world hasn’t really moved on in 300 years (although this is entirely fictional, not based on real events)

It's been a while since I rated a film 10 out of 10. This film is incredible, beautiful and devastating.

[nitin]

Tonally I was reminded of White Ribbon and Dreyer

Spoiler

the last 15 min are very Passion of Joan of Arc coded

And also thought that apart from Huller's typically great work, Caro Braun also matched her really well

[hearthesilence]

The Israeli filmmakers of NAZA have announced they will release their film for everyone to see for free in November. Here's Yuval Abraham's statement:

Due to the interest and public importance, I and Rachel decided together with The Guardian that the film NZA would be accessible online for free, without any time limit, so that every person can watch it and the soldiers' testimonies. This will happen in a few weeks, in November, at the earliest date we managed to set. Until then, we approached cinemas in Israel and offered them the film at no cost, in the hope that it will be screened in the country already now, in parallel to its distribution in cinemas around the world. Its screening will be a brave decision in the face of great violence aimed at concealing it. I know there is enormous demand to watch the film, and I hope that in this way, everyone will soon be able to see it: whether in cinemas or online in a few weeks.

Many incorrect things were said about us and about the film in the past week. The film is based on three years of comprehensive journalistic investigation, and the details in it are verified and cross-checked. It will speak for itself, and the truth will ultimately come to light.

We made the film to spark a public discussion about the government's actions in Gaza, the killing of more than 73,000 people, most of them civilians, the normalization of a war of extermination, of the notion that "there are no uninvolved." Twenty-four soldiers and female soldiers took a step and spoke in front of a camera about what an entire society doesn't want to talk about.

Recognizing the atrocities in Gaza does not diminish for a moment the heinous massacre of October 7, for which Hamas is responsible, which soldiers talk about in the film, and which has no justification whatsoever. On the contrary. After all, ignoring what's happening in Gaza is one of the factors that paved the way for that horrific Sabbath. And this ignoring continues.

Journalism is not betrayal. Criticism is not betrayal. It is the duty of every citizen whose government commits crimes to know, and of every soldier who witnessed them to tell. There are thousands of such soldiers walking around here, who will watch the film and recognize what is described in it personally: the killing of unarmed people crossing an imaginary line, the NZA approvals in the hundreds, the systematic attacks on family homes, the burning and physical destruction of Gaza, murder and shooting at hungry people in food distribution centers, and other crimes that have no justification. Even if it's frightening, it is your duty to find a way to testify to what you saw. They will tell you that it's better to hide the truth for the sake of hasbara abroad, but that's nonsense. There, they already know everything. Crimes are not explained but stopped. Hiding the truth first and foremost poisons our society and, above all, allows the harm to human beings in Gaza to continue.

And on a personal note: I have been writing about the army's fire policy in Gaza in Hebrew in "Local Call" for three years already. The investigations were met with ignoring in Israel. Now, for the first time, something is cracking in the screen of ignoring—and that's a positive thing. It's a healthy thing. Yes, it comes with a great personal price. It was a hard week. But within it, there is also a lot of support, and a lot of generosity. One thing is certain: the threats won't help. It doesn't deter us. Rachel and I will return to the country and continue to fight for the future of this place together with many partners.

[Lowry_Sam]

The Israeli filmmakers of NAZA have announced they will release their film for everyone to see for free in November.

Thanks, but 2 days too late! I already purchased my ticket (for my birthday)...at least it'll be an occasion to check out a brand new theater though! (New People Cinema, SF).

[cantinflas]

Primetime, in which the making of the show To Catch a Predator is turned into a pulse pounding thriller of all things.

Teasing You Can See Everything, "a documentary by Nathan Fielder and Lance Oppenheim. Featuring Elizabeth Holmes."

Trailer.

I'm dying to see both of these but ridiculously we have to wait another month before Primetime is released here while You Can See Everything doesn't even have a release date yet.

Lance Oppenheim is quickly becoming one of my favourite filmmakers and I'm yet to see a single film from him!

[Finch]

The Guardian is reporting that Tender Loving Care will probably be Mike Leigh's last film as he is having health issues.

Film at Lincoln Center posted a picture of Leigh from the NYFF opening night on their FB page and he looked pretty frail.

[bearcuborg]

The Guardian is reporting that Tender Loving Care will probably be Mike Leigh's last film as he is having health issues.

Film at Lincoln Center posted a picture of Leigh from the NYFF opening night on their FB page and he looked pretty frail.

God, I wish I still paid attention to the NYFF. I would have gotten tickets for today or tomorrow. I knew the would come when we would no longer get new Mike Leigh films...and here we are... Does anyone have one? Or know where to look?

[Never Cursed]

The Guardian is reporting that Tender Loving Care will probably be Mike Leigh's last film as he is having health issues.

Film at Lincoln Center posted a picture of Leigh from the NYFF opening night on their FB page and he looked pretty frail.

God, I wish I still paid attention to the NYFF. I would have gotten tickets for today or tomorrow. I knew the would come when we would no longer get new Mike Leigh films...and here we are... Does anyone have one? Or know where to look?

NYFF Discord. Also check for his Talk, which I have no idea when that is

[Mr Sausage]

Resident Evil (Zach Cregger)

One of the most entertaining things I've seen this year. Cregger has more a talent for individual set-pieces than cohesive stories, so he's playing to his strengths here in using a simple quest narrative: the character has to get from point A to point B, and whatever happens in between is there mainly to block his progress. So Cregger has the freedom to invent set-piece after set-piece without needing the pieces to build into anything larger. Resident Evil is a less ambitious movie than his previous two, indeed technically a step backwards in how it ignores both the satirical and socio-political content that made his other movies intriguing yet frustrating experiences as well as the complex tonal juggling that was Weapons's particular triumph. Yet refining his story down to pure entertainment has undeniably made for a delightful movie. This is an endlessly inventive, energetic horror comedy with a heavy emphasis on the comedy. What Cregger's done is figure out that the endless series of petty trials that forms the backbone of any puzzle/horror/action video game are, when viewed from the outside, just deeply funny. It's one goddamn annoyance after another--one more stupid lock you have to find the key for, one more gun whose ammo is fucking somewhere, who knows, one more obstacle that, once traversed, just leads to another fiendish situation full of petty tests. A stoic character might imbue these trials with a kind of noble seriousness, but Cregger uses a petty, easily frustrated nobody as his main character, and it's a riot to watch him try to navigate a world seemingly designed to annoy the fuck out of him. If nothing else, the film should be seen just to experience the sheer range and variety of tones in which Austin Abrams says "What the fuck?!" I don't think he said that phrase the same way twice, and he utters it at least once a scene. The thing runs out of steam in the third act, and doesn't really have much of an ending, but that still leaves a solid hour of non-stop comic invention, novel conceits, and a riotous use of strict realism to frustrate a main character whose knowledge of the world comes mainly from video games (imagine finding yourself in the plot of a video only for guns, locks, fences, and doors to still work exactly as they do in the real world). While I hope Cregger uses the success of this movie to fund a more ambitious project that'll finally pull all of his ample talents together and realize the promise of Barbarian and Weapons, I'm perfectly happy to see him dip into disposable entertainment and come up with something so fun and wild. I much preferred this to more lauded horrors like Obsession and Backrooms, and considerably more than joyless dreck like Evil Dead Burns.