Greetings again from the darkness. Most of us would do just about anything for a grieving loved one. Kepsuke (Daigo Yamamoto) proves this when he accompanies his wife Otone (Haruka Ayase) to a presentation at ReBirth, a company specializing in humanoids meant to replace a lost child. An accident two years ago cost this couple their 7-year-old son Kakeru (Rimu Kuwaki), and the husband, though skeptical of the whole thing, hopes this is what his wife needs to move on.
The film is written and directed by the ultra-talented Hirokazu Kore-eda (THE TRUTH, 2019; SHOPLIFTERS, 2018; OUR LITTLE SISTER, 2015), who has utilized his remarkable insight into human nature to bring us several memorable films. This one may lack the emotional depth of his previous work, yet it has plenty to say about technology and artificial intelligence. Otone is an architect and Kepsuke is a builder, and for much of the film, she is working on designing a unique house for another couple. Of course, the real story here is how humanoid Kakeru fits with this new family. Otone is initially quite accepting of this new being, while Kepsuke takes a bit longer.
Could you love a robot? Is an emotional bond even possible? Does this constitute life and should the new Kakeru even be considered a ‘real’ boy? Filmmaker Kore-eda throws in a twist since there are two sides to this story … and Kakeru’s side is easily the most fascinating. As it/he bonds with his true peers, the story takes on a much different and much larger picture than the intimate family drama we initially expected. We are told we are “a product of your own past”, and it’s Otone and Kepsuke who believe they are deciding whether to keep it or not. The obvious comparison here is Spielberg’s AI: ARTIFICIAL INTELLIGENCE (2001), but Kore-eda takes a different approach and leaves us pondering whether technology is serving us or will technology ultimately serve itself?
Opening in theaters July 24, 2026 and expanding through August 7, 2026
Posted by David Ferguson 
Greetings again from the darkness. Other than basic decency and human connection, there are few things that define a person and their life more than education. Whether gained in a classroom or through daily experiences, understanding people and history is what provides our perspective and our foundation of humanity. A common strategy of small-minded authoritarians who seek only more power is to limit educational opportunities for others … as if holding one group down will lift up said power-monger. This is on full display in this film based on the experiences Azar Nafisi detailed in her 2003 memoir. The film is directed by Eran Riklis (LEMON TREE, 2008), who co-wrote the screenplay with Marjorie David.
Greetings again from the darkness. Writer-director Haifaa Al-Monsour (MARY SHELLEY, 2017; WADJA, 2012) will always be referred to as a trailblazer, and the label was earned by becoming the first female filmmaker in Saudi Arabia to direct a feature length film. She has since influenced and inspired other women to pursue the art. Her latest film was co-written with her husband Brad Nieman, and it opens coldly with a woman’s dead body discovered in the desert.
Greetings again from the darkness. The first feature film from writer-director Sophy Romvari has been well received on the festival circuit, and it’s easy to see why so many have been drawn in by this Canadian- Hungarian production. It’s a deeply personal film with autobiographical elements from the filmmaker. The best family dramas often deliver a gut-punch, and this one certainly does … yet it’s the storytelling structure that provides hope for future gems like this.
Greetings again from the darkness. Thoreau famously wrote, “The mass of men live lives of quiet desperation.” That quote may overstate the being of the staff at The Grand, a 100-year-old hotel that once provided service for royalty, but now the seaside inn is crumbling at the seams and desperate for guests. The feature film directorial debut from writer-director Harry Sherriff and co-written by Laurence Tratalos is quite a pleasant surprise.
Greetings again from the darkness. Learning that Lou’s life is a bit of a mess becomes clear in the first few opening scenes. It’s early morning and she sneaks out after a one-night stand, noticing missed calls from Steve, her ex that she’s living with temporarily (along with his new partner). Soon, she’s dumped by her agent and is adamant that she won’t fly home to see her dad, despite holding the ticket he purchased for her. This is the feature film directorial debut from Timothy David, and the screenplay comes from Sally Gifford, who also has a small role in the film.
Greetings again from the darkness. Relationships require communication, diligence, and a bit of luck. Director Chloe Robichaud (SARAH PREFERS TO RUN, 2016) is working from a script from playwright Catherine Leger to deliver a remake of the 1970 French sex comedy, DEUX FEMMES EN OR from Claude Fournier. Finding humor in strained or crumbling relationships is never easy – especially when medication or a newborn is involved.
Greetings again from the darkness. Perhaps we can all agree that hiking is not best served as a spectator sport. Sure, there have been other hiking movies, including WILD (2014) as Cheryl Strayed (portrayed by Reese Witherspoon) takes on a solo hike of the Pacific Crest Trail. Yet almost by definition, a hike is meant, at a minimum, to help clear one’s head and, at its best, allow a connection with nature as one tries to center themselves from the stress of life. Writer-director Bart Schrivjer w-d (not his first hiking movie) has seemingly captured these elements of hiking better than others.
Greetings again from the darkness. As we are unfortunately learning yet again … there are no upsides to war. There are the deaths and injuries that occur to soldiers and citizens. There is destruction of property and cityscapes. And there is the cost to those who are neither soldiers or government officials – the ‘quiet cost’ of war. Writer-director Silvio Soldini (BREAD AND TULIPS, 2000) and co-writer Doriana Leondeff have adapted the 2018 award-winning novel, “At the Wolf’s Table”, by Rosella Postorino, which itself was based on the remarkable story WWII survivor Margot Wolk told a German journalist about her time spent as a food taster for Hitler.
Greetings again from the darkness. We don’t see a lot of films from Iraq, but if this one from writer-director Hasan Hadi is any indication, the industry there is in fine form with storytelling. While not preachy or heavily politicized, the movie does offer some insight into authoritarianism in the 1990’s under dictator Saddam Hussein. Some would argue that the situation from thirty years ago acts as a modern-day cautionary tale.
Movie Reviews from the Dark 