Following a plane crash a group of schoolboys find themselves on a deserted island. They appoint a leader and attempt to create an organized society for the sake of their survival. Democracy and order soon begin to crumble when a breakaway faction regresses to savagery with horrifying consequences.

A friend involved in A Free Palestine (a series of events marking the anniversary of the Nakba) recommended me this film.

Palestine ‘36, directed by Palestinian filmmaker Annemarie Jacir, portrays village life during the Great Arab Revolt of 1936 — the largest and longest uprising against Britain’s three decades of colonial rule in the region. Through a tapestry of characters from distinct walks of life, the film weaves together overlapping tensions: colonial oppression, deep religious identity, an unbreakable love for the land, and the rise of rebel groups pushing back against both the British establishment and Zionist colonial ambitions.

Shot on location in Palestine — remarkably, the only feature film to do so in the past two years — it premiered at the 2025 Toronto International Film Festival to a 20-minute standing ovation.

After watching it, I would highly recommend it to anyone looking to broaden their understanding of the Palestinian political conflict — particularly its historical roots, which are often absent from contemporary coverage.

What stays with you is the weight of knowing this happened nearly 90 years ago, and that the situation has only deteriorated since.

Arriving just after Hitchcock’s Psycho and at the early rise of the psychological thriller era¹, “Red Desert” carves out a space that is wholly its own. Instead of focusing solely on its protagonist’s mental struggles—a mother navigating her unease—Antonioni’s first venture into color directs attention outward. The result is a vivid meditation on industrialization, rendered through evocative visuals and atmospheric sound.

Richard Brody of The New Yorker notes, “The characters in his movies seem thin because their environment is developed so thickly; yet that environment, he suggests, is, though exterior to them, an inextricable part of them.” This captures the film’s spirit: the landscape and inner life are woven together, making “Red Desert” far more than a study in psychological distress. It’s an exploration of how the world and those who inhabit it shape one another.

Rick is a screenwriter living in Los Angeles. While successful in his career, his life feels empty. Haunted and confused, he finds temporary solace in the decadent Hollywood excess that defines his existence. Women provide a distraction to his daily pain, and every encounter brings him closer to finding his place in the world.

An unassuming mechanic is reminded of his time in an Iranian prison when he encounters a man he suspects to be his sadistic jailhouse captor.

Carol White, a Los Angeles housewife in the late 1980s, comes down with a debilitating illness with no clear diagnosis.

An innovative approach in retelling the tale of Judas Iscariot, known for his biblical betrayal of Jesus when he disclosed his whereabouts for 30 pieces of silver. About to die, Judas reflects on his life and his relationship with Jesus and the disciples.

I’ll admit it—Pamela Anderson’s closet picks led me here.

Helen, a London ad executive, is fired from her job and rushes out to catch a train, but, as she runs down, her life suddenly splits off. In one version she catches the train; in the second, she misses it. Her whole life changes in that one second, and the rest of the film depicts what happens in each scenario.

While recording sound effects for a slasher flick, Jack Terry stumbles upon a real-life horror: a car careening off a bridge and into a river. Jack jumps into the water and fishes out Sally from the car, but the other passenger is already dead — a governor intending to run for president. As Jack does some investigating of his tapes, and starts a perilous romance with Sally, he enters a tangled web of conspiracy that might leave him dead.

Drawing inspiration from Wald, a 2015 novel by the bestselling author Doris Knecht, as well as her own traumatic experience of witnessing the 2020 Vienna attack, writer-director Elisabeth Scharang retreats to the woods in this atmospheric and soul-stirring film.

The story of a group of men, an Army Rifle company called C-for-Charlie, who change, suffer, and ultimately make essential discoveries about themselves during the fierce World War II battle of Guadalcanal. It follows their journey, from the surprise of an unopposed landing, through the bloody and exhausting battles that follow, to the ultimate departure of those who survived.

A celebration of the forlorn and lonely Tree that Joel Tauber adopts in the middle of a giant parking lot. Filmed over the course of 18 years, the movie paints a multi-faceted portrait of the Tree via a series of interviews with experts in different fields; while it chronicles Tauber’s efforts to improve the Tree’s life.

What I imagine dreams in Alaska are like.

We Strangers is a drama that examines the persistent tensions of race and class in contemporary America — the quiet judgments, the unspoken hierarchies, the distance between worlds that share the same streets.

But it’s also something more intimate: a meditation on how privilege can hollow out meaning. There’s a sense that within affluent, insulated communities, certain gestures — of connection, of care — have become performative, emptied of substance. The film suggests that when status and achievement dominate our attention, the quieter dimensions of life — genuine love, presence, vulnerability — atrophy from neglect.

What emerges is a kind of inverse revelation: by confronting inequality, the film asks what actually matters when the scaffolding of success is stripped away.

Last but not least, a very good soundtrack…

I wasn’t expecting this chapter, and although still directed by Quentin, it’s more of a promotional Fornite short than anything else.

I did like hearing The Ramones in it though.

Lots of men in suits talk about the existence of non-human life, some recordings of unidentified aerial phenomena, and witnesses to hard-to-explain phenomena.

All combined with lots of politics surrounding the key to power for whoever reverse engineers the findings.

Looks like one of those ’90s NatGeo documentaries, to be honest.

If you’re a believer, then don’t bother watching it.

“…It’s not just national security, it’s psychological, sociological, theological, and it’s philosophical.” — Lue Elizondo (Department of Defense Official, FMR.)

A wealthy Italian household is turned upside down when a handsome stranger arrives, seduces every family member and then disappears. Each has an epiphany of sorts, but none can figure out who the seductive visitor was or why he came.

After withdrawing to the Chateau Marmont, a passionless Hollywood actor reexamines his life when his eleven-year-old daughter surprises him with a visit.

Though I’m generally wary of Netflix productions, this film distinguishes itself. With a semi-documentary style, it distills a dozen turbulent years of ETA¹-related conflict into less than two hours, offering a thoughtful and layered perspective on the complexities of the Basque Country.

For those drawn to espionage stories woven with historical realism and the shadow of terrorism, it’s well worth a watch.

On one random day in the San Fernando Valley, a dying father, a young wife, a male caretaker, a famous lost son, a police officer in love, a boy genius, an ex-boy genius, a game show host and an estranged daughter will each become part of a dazzling multiplicity of plots, but one story.

Edie Bouvier Beale and her mother, Edith, two aging, eccentric relatives of Jackie Kennedy Onassis, are the sole inhabitants of a Long Island estate. The women reveal themselves to be misfits with outsized, engaging personalities. Much of the conversation is centered on their pasts, as mother and daughter now rarely leave home.

A Black hitman who models after the samurai of old finds himself targeted for death by the mob.

A tense and provocative thriller, Femme explores the perilous reality faced by a drag artist, confronting emotionally charged and sexually complex situations. The film exposes violence and intolerance lurking beneath society’s conflicting impulses, offering a bold, uncompromising examination of prejudice, revenge, and longing.

I’ll admit it—Pamela Anderson’s closet picks¹ led me here.

There’s a hazy, stoned vibe running through this film, paired with a bargain-bin, straight-line plot that rarely surprises. Still, it’s easy to see how the portrayal of a resilient sex worker earned the film a spot on Pamela’s list.

A final twist manages to add a hint of uncertainty and actually gives its romantic aspirations a little more flavor.

The title is fitting: Wild At Heart tells a wild and passionate love story. It calls to mind Something Wild, which, in a more innocent way, also explores the contrasts, obsessions, and impulsive actions love can inspire.

A tale reminiscent of young Werther’s fascination¹, set within a rapper’s entourage. The film explores themes of sexuality, queerness, and the fixation on a musical icon. Who hasn’t felt at some point that fame sets a person apart, only to realize we’re all fundamentally alike? The influence of media and adoration is unmistakable.

The cinematography leans into a lo-fi style, giving the narrative an easygoing atmosphere as it follows the evolving relationship between the artist and the aspiring filmmaker. While obsession can distort perspective, it also offers an opportunity to gain clarity.

A gentle coming-of-age story produced by Sofia Coppola, whose influence is especially evident early on, thanks to the grainy, lo-fi visuals reminiscent of 1960s Woodstock footage¹.

Adapted from Alysia Abbott’s memoir, Fairyland: A Memoir of My Father², the film radiates a quiet optimism despite its undertones of sadness. Sensitive direction and insightful writing gracefully portray a journey of self-discovery, touching on sexuality and the weight of the AIDS crisis. Ultimately, “Fairyland” lingers as a beautiful meditation on love—revealed through everyday moments and subtle gestures—set against the backdrop of a transformative era.

If you enjoyed Rotting in the Sun, you may also enjoy this film.

While both movies share a similar premise, this one trades its focus on Mexican culture for the vibrant, chaotic tapestry of unique characters and experiences that define life in New York.

Once again, a corpse sets the story in motion, leading to a series of unpredictable and chaotic situations that are as entertaining as they are true to life.

I enjoyed “A Muzzarell” mainly because, although sometimes a bit predictable, it captures the familiar yet still powerful imagery of southern Italy.

What truly elevates the film is the performances of its two promising leads as they navigate a coming-of-age story interwoven with themes of drugs and the Mafia—realities that unfortunately shape life in this region. There are empty beaches, guns, and tattoos, but these become secondary as the story focuses on the “Muzzarell” and his grandmother’s last wish.

Don’t expect shootouts or killings; instead, the film examines how a corrupt society influences the development of a teenager. Love and passion are present—delivered in the distinctly Italian way.

It’s a bit like an Italian Fear and Loathing in Las Vegas, set in Naples and centered on teenagers.

Filming took place in the area around Castel Volturno¹, near Naples.

And don’t get me wrong—I love Naples. Its chaotic energy makes it a truly unique city.

Growing up in a Slovenian family abroad, this film captures the subtle gestures and unspoken rules that define social interaction here—those small moments that speak volumes about how things work in this country.

The locations showcase Ljubljana’s contrasting beauty, from its intimate corners to its sweeping vistas, carefully avoiding the architectural eyesores that have plagued the center in recent years.

The story resonates deeply: the bureaucratic hurdles of getting a dog permit, the quiet decision to leave for Berlin in search of something different, if not necessarily better. These aren’t just plot points—they’re lived experiences many of us share.

Beyond documenting Slovenian social dynamics, the film offers sharp critique of a system that attempts to help but often misses the mark. For those unfamiliar with Slovenia’s trajectory since independence, it’s a nation that has undergone massive transformation, particularly visible in its infrastructure boom—though not always for the better.

The cinematography and storytelling by Urša Menart in her first full-length feature set a new benchmark for Slovenian cinema. Every frame feels deliberate and ambitious. The soundtrack, featuring exclusively Slovenian artists, not only complements the film—it proudly marks it as made in Slovenia, claiming its place without apology.

A journey of ups and downs, following Barney Page as he rides the length of the British Isles on his skateboard in memory of his friend Ben Raemers. Lands End seeks to shine a light on the darkness of suicide and discusses how we can turn the corner on Mental Health.

An enigmatic drifter from the South comes to visit an old acquaintance who now lives in South-Central LA.

Upon his release from a mental hospital following a nervous breakdown, the directionless Anthony joins his friend Dignan, who seems far less sane than the former. Dignan has hatched a harebrained scheme for an as-yet-unspecified crime spree that somehow involves his former boss, the (supposedly) legendary Mr. Henry.

A modern classic, “Y tu mamá también” exchanges the restraint of Teorema’s conservative household for Mexico’s vibrant, contrasting scenery. It’s a story about youth and desire, portrayed with refreshing honesty and a touch of eroticism.

The film’s philosophical, poetic narrations provide deeper context, quietly revealing how chance, circumstance, and class shape the lives onscreen. These moments remind us that decisions ripple far beyond the present.

It leaves an impression—an inward odyssey unfolding against a restless landscape.

Armand, a 6-year-old boy, is accused of crossing boundaries against his best friend at elementary school. While no one knows what actually happened between the two boys, the incident triggers a series of events, forcing parents and school staff into a captivating battle of redemption where madness, desire and obsession arise.

You’re watching Faces of Death!

A wild ride with two nerdy, hilariously absurd leads. Their amplified foolishness is strangely endearing, but what really stands out is the surreal storyline and perfectly timed heavy metal flourishes, keeping the experience fresh and engaging.

Oscilloscope Films continually champions creative risk, and Vulcanizadora follows suit—balancing humor and discomfort in its own uniquely odd way.

Echoing themes from Femme, “Unicorns” follows a transgender woman navigating isolation within a deeply traditional family. Affection and belonging, rather than offering solace, subtly reinforce her restraints. Much of her existence is spent concealed, yet the film gently reveals her journey with warmth and tenderness.

For those captivated by Guillermo’s imagination in Pan’s Labyrinth, this documentary provides an insightful look at the influences—from formative religious experiences to the mysteries beneath the surface—that have shaped his creative vision.

A classic. Must read for anyone who believes in love, and for those who want to learn about it… a sneak peak into lots of should’ve, would’ve, could’ve done in life. A lesson for life.