This is a banner for a review of We Are All Strangers. Image courtesy of the filmmakers.

The Known Unknowns of ‘We Are All Strangers’ (Berlinale 2026 Film Review)

For a movie designed around a teenage pregnancy it’s a surprise that We Are All Strangers focuses on the baby’s father. What writer-director Anthony Chen is exploring here is how family responsibilities force young men to grow up. The assumption seems to be that women have achieved maturity already, regardless …

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This is a banner for a review of the movie Josephine. Image courtesy of the filmmakers.

Josephine Articulates the Unspeakable (Berlinale 2026 Film Review)

Content warning: sexual assault, child-centric trauma Writer-director Beth de Araújo has been open that Josephine is based on a true incident from her childhood. The trouble is that knowing this fact hampers the ability to speak critically about the film. Anything negative might feel like a personal attack against the …

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This is a banner for a review of the Cannes Film LA VÉNUS ÉLECTRIQUE (The Electric Kiss.) Image courtesy of the filmmakers.

‘La Vénus Électrique/The Electric Kiss’ Has the Right Touch (Cannes 2026 Film Review)

The Cannes Film Festival normally chooses a lighthearted French movie as its opener, mainly to celebrate the kind of movie that doesn’t always get its due. Tragedy can be very easy to make, but comedy – especially romantic comedy – is tough. You need great control over mood, you need …

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This is a banner for a review of the movie Filipinana. Image courtesy of the filmmakers.

‘Filipiñana’ – Visual Aesthetic Makes it an Instant Classic (Berlinale 2026 Film Review)

During the Berlinale I swung by photography museum C|O Berlin to look at their exhibit of work by Mexican photographer Graciela Iturbide (running until June 2026, and recommended). Her most famous photograph, “Mujer Ángel, Sonoran Desert, 1979,” shows an indigenous woman in traditional dress on the side of a hill, …

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