Air Tahiti Nui is giving French-language films their cinematic entrance and stepping into the cultural spotlight as one of the official sponsors of the American French Film Festival, hosted at the Directors Guild of America (DGA) in West Hollywood.
In Predator: Badlands, director Dan Trachtenberg once again proves that the Predator franchise works best not as a blockbuster spectacle, but as a stripped-down survival drama. Following the critical success of Prey (2022), which set the alien hunter loose in 18th-century Comanche territory, Trachtenberg returns with a new setting, new characters, and a familiar premise: when Earth’s future technology meets the Predator, the battle is never just for survival — it’s for the soul.
An experience in seeing what it could look like if you gave yourself the freedom to have fun—all while being witty, challenging, and desirable. That’s exactly what Tessa Thompson brought to the role of Hedda.
The second Wicked movie is upon us, and just like the first, it has reignited New York City’s enduring love affair with the iconic musical. For more than two decades, Wicked has captivated Broadway audiences with its story of friendship, ambition, and the untold tale of the witches of Oz—and the city has embraced it wholeheartedly.
Joachim Trier stakes his claim as a master of modern social cinema.
A fine line between heaven and hell in Spain’s latest submission for Best International Feature at the Academy Awards.
With her directorial debut, Where The Children Go To Play, filmmaker Jada George invites audiences into a dystopian world where artificial intelligence decides who is worthy of survival.
A familiar map on foreign territory in Claire Denis’ The Fence.
At the red carpet event of the film No Other Choice, at the New York Film Festival 2025, I got the opportunity to talk to Park Chan-wook and main star Lee Byung-hun about the genre-bending masterpiece they had created.
Park Chan-wook’s No Other Choice is a darkly comic and visually stunning thriller about a laid-off paper factory worker whose desperate fight to preserve his identity spirals into absurd violence and moral collapse. By far my favorite film at NYFF 2025, it cements the South Korean film industry as a new behemoth not only in commercial success, but critical as well.