‘I was trying to understand who I was by looking to another generation’: Marcelo Caetano on ‘Baby’
PINK SCREENS 2025: The Brazilian director shares his thoughts on creating cinema as a testament to life, found family, and the city of São Paulo.
PINK SCREENS 2025: The Brazilian director shares his thoughts on creating cinema as a testament to life, found family, and the city of São Paulo.
SAN SEBASTIÁN 2025: There’s no place like home in this repeatedly surprising Basque-language feature, especially when “home” means being out and proud as a septuagenarian, free to exercise bodily autonomy as one pleases.
SXSW LONDON / INSIDE OUT 2025: This multi-award winner is a quiet journey into sensorial discovery between a man who goes to the Maharashtra countryside for his father’s funeral and an unwed farmer.
XPOSED 2025: The Filipino director’s newest feature shoots Manila all aglow with neon light in a story of a group of young male sex workers who come together after tragedy, all over the course of one night.
CANNES 2025: Led by heartthrob favourites Paul Mescal and Josh O’Connor, the South African director’s new queer drama is disappointingly lukewarm, caught up in its own languorous melancholia.
QUEER EAST 2025: The long-time friends and now directors offer a look into what they really wanted to create, as filmmakers, in their riotous comedic debut feature.
BFI FLARE 2025: The Brazilian writer-director duo talks performance, life’s perpetual push-and-pulls, and provoking the audience’s horniness in their erotic thriller.
BFI FLARE 2025: In an unwavering refusal of cynicism, the German writer-director-actor creates a thought-provoking sophomore feature by pointing to life’s inherent ironies and beautiful moments as they play out in often unexpected ways.
ANIMA 2025: We take a look at three highlights from this Brussels festival for animated films, which have all been critically acclaimed to date—for good reason.
BFI FLARE 2025: The Argentinian writer-director takes us into the ideas behind his latest feature, including his desire to make a film inspired by the traditions of classic romantic comedies and composing each shot like a painting.