Guest Writer Priyanka Arora reviews The Fable (2024).

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

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. 

Yeo Siew Hua’s newest feature film, Stranger Eyes, is as audacious and ambitious as the 35th Singapore International Film Festival, President Daryl Cheong writes.

Content Creator Goh Cheng Hao reviews Lila Avilés’ film Totem (2023) which explores the plurality of illness through a child’s point of view.

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.

Editor-in-Chief Rhea Chalak reviews a film with a lot of buzz surrounding it, especially in the Western film circuit: Yorgos Lanthimos’ latest black comedy Poor Things (2023).

Editor-in-Chief Rhea Chalak reviews Chinese-language film Buddha Mountain (2010), directed by Li Yu and starring Fan Bing Bing.

Content Creator Phyllis Chan reviews Ryan Benjamin Lee’s The Parade, an animated short that explores the intricacies of politics and individuality.

Content Creator Phyllis Chan reviews JT Trinidad’s short film the river that never ends (2022).

Vice-President Fidel Tan reviews Ryusuke Hamaguchi’s latest film Evil Does Not Exist (2023), following the themes of capitalist greed and gentrification in conflict with nature.

Content Creator Phyllis Chan reviews Alice Rohrwacher’s 2023 drama film, starring Josh O’Connor as a crumpled English archaeologist-turned-grave-robber.