ARCO (2025, animation)

January 29, 2026

Greetings again from the darkness. ‘Arco, phone home’. OK, that’s not actually a line of dialogue in this Oscar nominated animated feature film from w-d Ugo Bienvenu, co-director Gilles Cazaux, and co-writer and Felix de Givry … but the line sure fits. Taking place in the future, the film’s strong themes are family, friends, and coming-of-age.

Hundreds of years in the future, ten-year-old Arco is tending to the family’s animals while his mother, father, and sister are off time-traveling. When told the age limit for such travel is twelve, Arco does what any young boy would do … he snatches his sister’s rainbow travel cloak while she’s sleeping and takes off to see what he’s been missing. Of course, things go wrong for Arco and he crash lands in the year 2075. Young Iris throws the trio of rainbow hunters (comic relief in Scooby-Doo mode) off his trail, and takes Arco home so Mikki, her robot nanny, can provide first aid.

The vibrant colors of Arco’s home are in the style of Studio Ghibli animation, and the bubble homes of Iris’ era speak clearly to the environmental message being delivered. Actually, there are a number of ecological issues covered here, yet the main focus is one of hope and the importance of family and friendship. You’ll notice some familiar voices, including Natalie Portman (also a producer), Mark Ruffalo, Will Ferrell, and Andy Samberg. This is a family film (not for the toddlers) with substance, and it certainly hasn’t been simplified or dumbed down for kids. It’s worthy of the Oscar nomination.

Opening in theaters on January 30, 2026

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Posted by David Ferguson

WITHOUT KELLY (2026, short film)

January 23, 2026

Greetings again from the darkness. The Sundance Film Festival does a terrific job each year of selecting captivating short films. One of the films in the lineup of this year’s shorts program on January 24, 2026 is from Swedish filmmaker Lovisa Siren, and it’s a gem.

Medea Strid stars as Esther, a young mother who must face the first separation from her child when she’s required to allow the child’s father Anton, played by Truls Carlberg, to spend one week with Kelly. The story was inspired by the director’s own experience as a young parent, and Esther’s emotions are palpable as she struggles to let go … as well as replacing the personal touch that she’s come to depend on.

It’s painful to watch Anton attempt to gently usher Esther away, and perhaps more painful watching her ultimately find the intimacy she craves – from a source she probably shouldn’t. This is a relatable and powerful story and Ms. Strid’s performance carries the ten-minute run time. The film also won the Orizzonti Award for Best Short Film at the 2025 Venice Film Festival.

Selected for Sundance Film Festival shorts program on January 24, 2026

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Posted by David Ferguson

MY NEIGHBOR ADOLF (2025)

January 12, 2026

Greetings again from the darkness. We can pick our friends, but not our family or neighbors. However, we can (and do) speculate on and judge our neighbors – and that’s what occurs in this smart little film from writer-director Leon Prudovsky and co-writer Dmitri Malinsky. The premise of the film may initially seem absurd to some, but the final version is touching and quite entertaining.

A short prologue takes us to 1934 in Eastern Europe where a large Jewish family is enjoying their time together and posing for a family portrait. We then flash forward to 1960 South America. It’s after the war, and Polsky (screen vet David Hayman) is living a life of solitude in a dilapidated countryside home. Polsky still grieves for his many losses, while wearing the mark of a Holocaust survivor. He’s a grumpy man who shares pleasantries with neither the friendly postal carrier nor the inquisitive lady inquiring about the empty house next door … a house he would much prefer remain vacant. Polsky spends his days tending the black rose bush, which is his bond to happier times, especially those with his wife.

The previously mentioned inquisitive lady turns out to be Frau Kaltenbrunner (Olivia Sibush), charged with finding a home for the mysterious Mr. Herzog (Udo Kier), a process that means Polsky now has a neighbor – one whose German Shepard named Wolfie breaks through the fence and damages the beloved rose bush. The two men barely acknowledge each other, except for a property line negotiation. Polsky catches a glimpse of Herzog’s eyes without the sunglasses and immediately pegs him as Hitler. Heavy duty research follows as Polsky displays an urgency missing from his life for many years.

Remarkably, the premise is bizarre, yet rather than be the main thrust, it merely leads to the crux of the story. Of course, we understand why Polsky might not believe the media reports of Hitler’s bunker suicide, but he’s taken aback by how investigators show little interest in his evidence, and are more concerned about his own mental health. Almost accidentally, the two men slowly begin relaxing their defenses towards the other. A chess board thaws the ice, as does the slow-to-come conversation. What we soon see are two men, burdened by the past, finally opening themselves up to living again.

An odd twist is handled beautifully by the actors. A few bits of note to go with this one. Frau Kaltenbrunner’s last name is (probably not) coincidentally the same as that of Ernst Kaltenbrunner, former Director of Reich Security, and a convicted Nazi criminal. Our two lead actors, David Hayman and Udo Kier have had excellent careers dating back to the mid-60’s. Kier has long been a personal favorite, and he recently passed in November 2025. He also has a role in THE SECRET AGENT, Brazil’s submission for Best International Feature of 2025. The performances of these two men elevate the material and create emotion where it’s needed … and neither actor ever stoops to scene stealing. Prudovsky’s film is not just a pleasant surprise, it’s an excellent film worthy of attention.

Opens in theaters on January 9, 2026

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Posted by David Ferguson

RESURRECTION (2025, China)

January 7, 2026

Greetings again from the darkness. Chinese filmmaker Bi Gan’s third feature continues his string of visually stunning films and dramatic visual effects. However, this one runs 160 minutes, and seems to be inaccessible to most moviegoers, while the film will surely mesmerize a few. Bi Gan is a cinematic artist who is at ease toying with time and our sense of normalcy.

In the first segment, we learn that the secret to longevity – even immortality – has been discovered. Those who do not dream will be rewarded with long lives. Of course, rebels fight back. Here they are known as ‘Deliriants’ … those who hold fast to dreaming, recognizing that a life without creativity or imagination is hardly worth extending.  Bi Gan structures the movie into five segments, each offering a bow to our five senses and to a specific era of cinema. Jackson Yee (BETTER DAYS, 2019) plays the deliriant in each segment. The eras range from silent movies with a nod to Melies to film noir to vampires. Stretching from science fiction to monsters to romance, the film refuses to be limited to any one label.

The film won a Special Jury Prize at Cannes in 2025, and in addition to writer-director Bi Gan, those deserving of recognition include the Production Design team of Liu Qiang and Tu Nan, Cinematographer Dong Jingsong, and composer M83 who somehow complements the various eras and styles. My take is that the film is lacking an emotional connection for most viewers, though the artistry and visual style ate stunning. Perhaps it leaves us with the question of whether eternal life is an admirable pursuit.

Opening in theaters on January 9, 2026

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Posted by David Ferguson

IT WAS JUST AN ACCIDENT (Iran/France, 2025)

January 3, 2026

Greetings again from the darkness. What is true human nature? Is there even such a thing? Are we preprogrammed to do the right thing, or is it our nature to hold grudges, seek revenge, and take advantage of every situation? This superb film from Iranian filmmaker Jafar Panahi explores the topic, and it’s important to know that he was inspired to write the story after being imprisoned for creating propaganda against the regime.

A man is driving his family on a dusty road through the darkness. His pregnant wife (Afssaneh Najmabadi) sits beside him as their young daughter dances to the blasting music in the backseat. When the man hits a stray dog, the daughter becomes upset. Her level-headed mother says, “It was only an accident” … setting the tone for what is to come. When their car breaks down a bit farther down the road, the shop’s owner, Vahid (Vahid Mobasseri) is startled by a familiar and haunting sound – the squeak of the car driver’s prosthetic leg.

Vahid is convinced that squeak belongs to Eghbal, or Peg Leg, as he referred to the prison guard who tortured him. The next day, Vahid kidnaps the man (Ebrahim Azizi) by force and drives him to the desert where he digs a hole in which to bury him. However, the man is convincing in his pleas of “you’ve got the wrong man”, and since Vahid was constantly blindfolded, he has only that haunting squeak as evidence. Rather than risk killing the wrong man, Vahid begins assembling folks who, like himself, were once tortured by Peg Leg. His friend Salar recommends Shiva (Mariam Afshari), a wedding photographer, which leads to bride-to-be Goli (Hadis Pakbaten), the groom-to-be (Madjid Panahi), and an angry and emotional Hamid (Mohamad Ali Elyasmeyr) joining in the quest to decide: mistaken identity or guilty of torture.

This journey of decision-making is bold storytelling filled with some great long takes. Director Panahi filmed this (guerilla style) in Iran, although Postproduction took place in France, which has submitted the film for Best International Feature film. Despite the intensity of the subject matter and the characters, there are surprising moments of (dark) humor … and the crazy twists are what have us questioning so much. At what price does revenge come? Can justice be served, and if so, what would it look like? The details one remembers from being tortured are likely ingrained forever. Filmmaker Panahi sticks the ending in such a way that we leave nearly as haunted as Vahid.

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Posted by David Ferguson

NOUVELLE VAGUE (2025)

November 14, 2025

Greetings again from the darkness. Like most who obsess over cinema, I went through my French New Wave phase. Actually, binge is likely more accurate since the phase has yet to end. I’ll always make time for Truffaut, Godard, Chabrol, Rohmer, Varda, and Demy. American director Richard Linklater clearly shares this fondness as he releases this homage on the heels of BLUE MOON, his other superb 2025 release. Co-writers on this film are Holly Gent, Laetitia Masson, Vincent Palmo Jr, and Michele Petin … two of whom have previous collaborations with Linklater.

While Linklater shows us the many faces and names of those behind the movement, most of this story focuses on Jean Luc Godard and his quest to make BREATHLESS (1960). Godard is played by relative newcomer Guillaume Marbeck and the trademark sunglasses. Godard is a film critic turned writer turned director. In fact, we hear him repeat, “I have to direct”, seeing as his goal to direct his first feature by age 25 has already been missed. He talks reluctant and skittish producer Georges de Beauregard (Bruno Dreyfurst) into financing the film by claiming Francois Truffaut (Adrien Rouyard) and Claude Chabrol (Antoine Besson) had co-written the script. Both men had successful films under their belts with THE 400 BLOWS and LE BEAU SERGE, respectively, so the producer viewed his risk as minimal.

Already a star at age 21, Jean Seberg (a terrific Zoey Deutch) finally agrees to join the cast, as does amateur boxer and new actor Jean-Paul Belmondo (Aubry Dullin). Linklater does a nice job in recreating the haphazard manner in which Godard worked. Of course, there was no script … other than what he wrote each morning over breakfast. He was after spontaneity, and this caused a clash with Seberg. Much of how he worked would be considered guerilla filmmaking, and it’s interesting to see how the cast and crew react to Godard’s ‘genius’.

Along with the music, Linklater and cinematographer David Chambille capture the authentic look and feel, and it serves as a tribute to the era, including ever-present cigarettes. The French New Wave, and especially Godard, offered a new vision for cinema. Their impact on future filmmakers cannot be overstated, and Linklater’s passion for the movement for cinema is obvious. He surely hopes the film inspires others to explore the revolutionists from the Wave that shook the foundation of cinema … even if “it’s no CITIZEN KANE”. Just keep in mind what Godard says, “All you need for a movie is a girl and a gun.”

Releasing on Netflix on November 14, 2025

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Posted by David Ferguson

THE SUMMER BOOK (2025)

October 20, 2025

Greetings again from the darkness. Watching this film is how I imagine it would be to view a poem. It’s meditative and slow … somehow calming us as we contemplate the topics broached. Director Charlie McDowell (THE ONE I LOVE, 2014) and screenwriter Robert Jones have adapted the 1972 novel by Tove Jansson. Granted, it’s an unusual set up for a film shown anywhere outside of a film festival, yet because it is poignant and relatable, it’s an easy one to recommend.

Nine-year-old Sophia (newcomer Emily Matthews) arrives by boat on an island in the Gulf of Finland with her father (Anders Danielsen Lie) and her grandmother (8-time Oscar nominee Glenn Close). The well-worn family cabin has clearly been an annual retreat, and a simple straw hat clues us in to the fact that Sophia’s mother has recently passed away. Dialogue is relatively minimal here as we watch these three go through each day. The few interactions that occur are quite meaningful. The father, an illustrator who spends his time focused on work, is grieving deeply over his wife. Sophia is frustrated and longing for his attention. She tells her grandmother, “He doesn’t love me since she died.” It’s a heartbreaking moment.

The film’s best scenes are those with Sophia and her grandmother, a woman trying to fill a gap while also dealing with the reality of her age (a failing memory and worsening health). Grandmother is wise and recognizes this is her moment to pass along life lessons. These include social graces (with neighbors) and the joy of quiet moments. The three chip in to cultivate a struggling poplar sapling – seemingly transformed into a tribute to the departed mother and wife. A man we assume to be Sophia grandfather drops off a box of fireworks for Midsommer, and though he’s a no-show for the festivities (and duds), his inclusion of a special surprise for Sophia is a hit.

Grandmother urges her emotionally distant son to show warmth to Sophia, as she (grandmother) won’t always be around. It’s a rare film that covers grief, growing old, and growing up … any one of these would be (and has been) a central theme for many movies and stories. McDowell’s film is not one for showoff acting performances, yet Glenn Close and young Emily Matthews are so natural together, that we realize this is something special. In keeping with the film’s tone, composer Hania Rani’s score is serene, while including some wonderful piano. There is a moment when Grandmother answers a question with, “Life is long, Sophia”. She could have added, ‘except when it isn’t’.

Available on all major VOD platforms beginning October 21, 2025

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Posted by David Ferguson

MR. BLAKE AT YOUR SERVICE (2025)

October 3, 2025

Greetings again from the darkness. When we first meet Mr. Blake, he’s tidily packing a small suitcase and informing an anxious phone caller that he will not be attending the ‘Man of the Year’ award ceremony, even as he’s being introduced as the guest of honor in the background. We realize Blake is leaving London because he takes one last forlorn glance at his long-time apartment before heading “back to where it began.” It’s rare for the author of the source novel to adapt and direct a film, but that’s the situation here with Gilles Legardinier and his 2012 book, “Complètement cramé !” Co-writer Christel Henon helped with the screenplay.

The always interesting John Malkovich plays against type and stars as Andrew Blake in this French (with subtitles) comedy originally titled “Well Done!”. Having retired as a businessman, Blake is mourning the death of his wife (40 years) Diane, and heads to the stunning French estate where they first met. It’s there where he receives a less-than-warm welcome by Odile (a terrific Emilie Dequenne, CLOSE, 2022), the manager of the inn. A misunderstanding between the two, lands Blake in a cramped room and a ‘trial’ as the home’s butler. He does meet the estate’s owner, Nathalie Beauvillier (French acting legend Fanny Ardant), who has also lost her spouse and finds herself speaking to a mannequin wearing her husband’s suits, as she navigates her way through severe financial challenges.

Other key players include the parttime groundskeeper Philippe Magnier (Philippe Bas) and the parttime maid Manon (Eugenie Anselin). In a film where everyone gets their moment, Magnier and Blake playfully banter (Blake calls him a grumpy frog) after near-violence marks their initial meeting. Manon heeds Blake’s fatherly advice when she finds herself in a situation with a less-than-supportive boyfriend. There is also the irritating Madame Berliner (played by co-writer Christel Henon) as Nathalie’s quasi-friend, and finally, Mephisto, the chunky house cat to whom the hard-driving Odile shows some affection.

This is a whimsical, feel-good movie that never delves too deeply into the characters. However, that doesn’t mean they aren’t relatable, as we do find ourselves pulling for each of them. At its best, this is a story of turning grief into something positive during the next phase of life. Mr. Blake becomes a most unexpected uniter – a man whose advice, guidance, and good intentions not only help each of these characters with their own situation, but also instigate a bonding within the staff. This becomes a ‘one good deed leads to another’ scenario, although the final Christmas setting and reunion feels a bit syrupy. On a sad note, Emilie Dequenne passed away earlier this year from cancer. She was only 43.

Will be released in UK and Irish cinemas on October 3, 2025

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Posted by David Ferguson

WENT UP THE HILL (2025)

August 15, 2025

Greetings again from the darkness. In the Mother Goose nursery rhyme, Jack and Jill not only went up the hill together, they also tumbled down. This latest from writer-director Samuel Van Grinsven and co-writer Jory Anast spin a Jack and Jill yarn that’s not nearly as cutesy, yet does involve some emotional tumbling … and one creepy spirit.

Horror film aficionados are accustomed to possession-themed stories, where someone from beyond takes over the body of one still living. The twist here … and it’s a good one … is that the spirit of Elizabeth actually (and regularly) switches between not one, but two characters who are both important to her. Elizabeth was a renowned artist who opted for a way out, leaving behind her two great loves – her wife Jill (Vicky Krieps, PHANTOM THREAD, 2017) and their stunning mountain lake home (the Southern Alps of New Zealand).

On the day of the funeral, Jack (Dacre Montgomery, very good in the upcoming WHAT WE HIDE, 2025) shows up, claiming Jill invited him by phone. It’s clear Jill has no idea who he is, or that Jack is Elizabeth’s only child – one given up many years ago for reasons that aren’t clear until much later. Elizabeth’s sister, Helen (a terrific Sarah Peirse) has kept the family secret all this time.  Jill invites Jack to stay at the house, despite Helen making it obvious his presence is not appreciated.

Speaking of presence … we never see Elizabeth, but we know she’s there (and there). Jill sleeps next to the coffin, and every time she and Jack fall asleep, Elizabeth’s spirit does her thing. Mood and atmosphere are key here, and everyone (including Jack, Jill, and us viewers) is confused as to what the spirit of Elizabeth is trying to accomplish. Does the spirit want Jack and Jill to have the relationship that mom and son never did? Or is the spirit focused on having her beloved wife, and possibly the long lost son as well, join her in her new locale? The goal isn’t always clear, but it is always a bit creepy … which is good for the movie.

Cinematographer Tyson Perkins likely had a blast working with the combination of skilled actors, a stunning modern house, and the geographic terrain which could be both beautiful and treacherous – although the number of ‘eyeball shots’ were a bit eerie. A not so minor complaint is in regard to the low-level dialogue, which was exceptionally difficult to hear at times. Still, the acting here is superb, as is the piano-based score from composer Hanan Townshend (TO THE WONDER, 2012), and kudos to a horror movie that’s neither slasher, sequel, nor re-tread.

Opening in theaters on August 15, 2025

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Posted by David Ferguson

BONJOUR TRISTESSE (2025)

June 13, 2025

Greetings again from the darkness. Beauty. It permeates every scene in Durga Chew-Bose’s (TINY FURNITURE, 2010) adaptation of the 1954 Francois Sagan novel. The novel was previously adapted for the screen in 1958 by legendary filmmaker Otto Preminger, and this new version assumes a different tone while maintaining the essence of the novel. It should be noted that Sagan was only eighteen years old when her novel was published, adding pertinence to the character of Cecile.

A stunning villa by the stunning rocky cliffs and deep blue water houses the stunning trio of Raymond (Claes Bang, THE NORTHMAN, 2022), his girlftriend Elsa (Nailia Harzound, “Gone for Good”), and his daughter Cecile (a mesmerizing Lily McInerny). Stunning describes most everything here, so repetitive use is allowed. Raymond’s wife and Cecile’s mother, Sophie, died a dozen years ago, and the teenager (18) and her dad have a close relationship. For a while, we find ourselves asking, “who is the third wheel?”. Is it Cecile? Is it Elsa? Could it even be Raymond? Well, while Raymond and the gorgeous and philosophical Elsa make a beautiful couple, Cecile frolics with Cyril (Aliocha Schneider), a charming local boy who makes the perfect summer plaything.

Only nothing is perfect in this world where beauty abounds. Soon, Sophie’s long ago best friend, fashion designer Anne (Chloe Sevigny) shows up. Her invitation from Raymond exposes the bond he had with Elsa for what it was, while also disturbing Cecile. Things are quite awkward for a while as Anne’s low-key manner can best be described as passive-aggressive, even as she and Raymond grow closer. The simmering conflict between the women is fascinating to watch as it unfolds … sans any of the overly-dramatic histrionics we’ve become accustomed to in American relationship movies. These women are sly and clever as they quietly scheme.

Working closely with writer-director Durga Chew-Bose are cinematographer Maximilian Pittner, Costume Designer Miyako Bellizzi, and composer Lesley Barber in capturing the awe-inspiring by-the-sea with a south of France summer look and feel. Early on, Elsa states, “Everything is about listening”, which proves true for the characters, but it’s highly recommended that viewers also keep their eyes open!

On digital nationwide beginning June 13, 2025

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Posted by David Ferguson

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