Staff Writer Ezekiel Sen reviews Osgood Perkins’ latest film, The Monkey (2025), starring Theo James, Oz Perkins, and Elijah Wood.

President Daryl Cheong lists his predictions for the 97th Academy Awards, both the expected winners and the surprises.

If I had to describe Babygirl (2024) in one sentence, I’d say it’s a movie about people telling each other to sit down.

Staff Writer Tan Yan An reviews The Seed of the Sacred Fig, nominated for Best International Feature at 97th Academy Awards. Following the tense war in Iran and the uprising, an internal family conflict boils over — where blind faith is privileged over blood ties and true justice.

Staff writer Rachel Goh examines the will they/won’t they trope, its addictive pull, and the complexities of villainising side characters in sitcoms.

Staff Writer Jeff Chay reviews A Different Man (2024), a hauntingly absurd exploration of identity via a Kafkaesque metamorphosis.

Content Creator Dexter Lok finds joy in Joyland (2022), Saim Sadiq’s debut film which was screened at last semester’s Queer Week!

Editor-in-Chief Hannah Jade reflects on 3 films that were integral to her year.

As the Christmas season approaches more closely, Guest Writer Adrian Ho offers a Christmas film rec.

Missing Arcane (2021 - 2024)? Honorary Financial Secretary Venesya Ko has you covered.

Staff Writer Angelica Ng reviews the latest adaptation of the beloved classic, Wicked (2024), directed by Jon M. Chu, starring Ariana Grande and Cynthia Ervio.

Guest Writer Priyanka Arora reviews The Fable (2024).

Guest Writer Khushi Pai navigates a refreshing intimacy in Don’t You Let Me Go (2024).

Acclaimed actor Manoj Bajpayee shared his journey from Bihar to stardom, his love for theatre, and the toll of method acting during an interview at the Singapore International Film Festival, Priyanka Arora writes.

In the monochrome heart of Hanoi, a bereaved woman redefines home, family, and enduring bonds in a poignant exploration of identity and belonging. Staff Writer Tan Yan An reflects on the critical Cu Li Never Cries.

The Killers (2024) attempts an anthology of genre-whirling stories, but ultimately disappoints in its lack of maximising its potential, President Daryl Cheong writes. 

Making room in the psychiatric facility — Staff Writer Mohamed Shafiullah reviews Nicolas Philibert’s documentary, At Averroes and Rosa Parks (2024).

Antidote (2024) celebrates ordinary individuals coming together to expose Vladimir Putin and his regime, but excessively over-dramatises to get its point across, President Daryl Cheong writes.

The tender and pressing film about an aging woman-loving-woman couple in Hong Kong is a reminder of the socio-political strides still to come, President Daryl Cheong writes.

Duong Dieu Linh’s debut feature film is one of the best at the Festival and heralds the arrival of an original, talented, and sensitive filmmaker, President Daryl Cheong writes.