Off its new IMAX rerelease, staff writer Angelica Ng relishes in the lush musicality and visuality of Hayao Miyazaki’s Princess Mononoke (1997), revisiting its timeless ecological message.

Guest Writer Tan Yan An shares his thoughts on the country’s first independently funded sci-fi feature, We Can Save The World!!! – a film that is bold, inventive, and full of heart.

Staff Writer Kuo Yi Quan goes behind the scenes of Saltburn (2023), a twisted black comedy thriller which gained immense controversy in many social media circles.

Editor-in-Chief Hannah Jade’s unserious review of the equally unserious film, Final Destination: Bloodlines (2025), the final installation of the beloved millennial series which features no apparent killer or supernatural apparition.

Staff Writer Angelica Ng discovers the cinematic nostalgia behind Gia Coppola’s 2024 film The Last Showgirl (2024).

Staff Writer Kuo Yi Quan reviews The Solitary Gourmet (2024), the latest addition to the beloved Japanese culinary series.

Guest writer Henrique Bravo reviews the Glen Powell-starrer Hit Man (2023), and explores how it is more than just a rom-com, but also a giant lecture on the philosophy of life.

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

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 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.

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 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).

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.