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

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

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

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.

Honorary General Secretary Venesya Ko reviews the queer Thai drama, The Paradise of Thorns (2024).

Guest Writer Khushi Pai reviews Fairytale (2022), Alexander Sokurov’s experimental adult animated fantasy which was screened at this year’s Perspectives Film Festival in Singapore.

Staff Writer Ezekiel Sen reviews Coralie Fargeat’s sensational “splatterfest”, The Substance, which won Best Screenplay at the Cannes Film Festival earlier this year.

Staff Writer Angelica Ng reviews the recent premiere of Joker: Folie à Deux (2024), the much-awaited sequel of Joker (2019).

Honorary Financial Secretary Venesya Ko reviews Damian McCarthy’s horror film Oddity and finds a new kind of scariness.

President Daryl Cheong reviews DreamWorks’ latest film The Wild Robot — a testament to the spirit of kindness and a deserved Oscar frontrunner.

President Daryl Cheong and Honorary Financial Secretary Venesya Ko collaboratively review James Watkin’s 2024 take on the 2022 Danish film, Speak No Evil (2022).

Honorary Financial Secretary Venesya Ko reviews incoming horror flick Cuckoo (2024), which sees Euphoria alum Hunter Schafer in her first lead role in a feature film.

Vice-President Rhea Chalak reviews the upcoming Lanthimos triptych, Kinds of Kindness (2024).

Henrique Bravo draws insights on the broader Bhutanese political scene within his review of Pawo Choyning Dorji’s The Monk and the Gun (2023).

Jeongrak Son ponders on Wim Wenders’ stoic representations of sorrow and the mundane, writing about the Kōji Yakusho-starrer Perfect Days (2023).

Asish Moturu delves into The Lobster (2015), an absurdist black comedy about relationships in an imagined dystopia, and examines its critique of modern society.

Mohamed Shafiullah contemplates the film adaptation of Rumaan Alam’s novel of the same title Leave the World Behind (2023), set in a dystopian, apocalypse-ridden America.

Kuo Yi Quan delves into the role nature and urban spaces come to a head in the Taiwanese film The Falls (2021), set during the COVID-19 pandemic.

Content Creator Phyllis Chan writes a moving and powerful rumination on the Chinese docudrama Tedious Days and Nights, which exposes the current lives of former poet-activists in Mainland China.

Jeongrak Son reviews two films revolving around the exploration of time that screened at the Quantum Shorts Film Festival.