The Grierson & Leitch Podcast: 'They Will Kill You,' 'Alpha' and 'Mike & Nick & Nick & Alice'

It's an 0-for-3 week for me on the podcast: I didn't like any of the films we discussed. You can hear our discussion down below.

'Alpha' Review

My favorite Julia Ducournau film remains her first, Raw. She returns with Alpha, which was widely panned at Cannes. I gave it a second shot this week for the Los Angeles Times.

'Two Prosecutors' Review

Last year's Cannes was really great. Want more proof? Two Prosecutors, one of my favorites from the festival, is finally hitting U.S. theaters. It's a stunner. My review is up at the Los Angeles Times. 

The Grierson & Leitch Podcast: Ryan Gosling in Space and 'Ready or Not 2'

On this week's episode, we go long on Project Hail Mary and lament Ready or Not 2: Here I Come. Then, we talk about Two Prosecutors, one of my highlights from last year's Cannes. Check out the conversation down below. 

'Sound of Falling' Review

Sound of Falling made the Oscar shortlist for both International Feature and Cinematography. Sadly, it failed to get a nomination in either category. I have been raving about this movie since I saw it at Cannes. I was very happy to extol its brilliance over at the Los Angeles Times.

'Young Mothers' Review

When I started going to Cannes more than a decade ago, I realized, "Oh my god, I'm going to be able to see the Dardenne brothers' movies when they premiere!" They have been fixtures of the festival for decades, winning the Palme d'Or twice. I saw their latest, Young Mothers, last year at Cannes, and now it's out in the U.S. For the Los Angeles Times, I reviewed another solid effort from Jean-Pierre and Luc. 

Best of 2025: The Top 10 Movies of the Year

It has become a nearly annual tradition that, over the holidays, Susan and I go on a road trip. If it's an even-numbered year, we rent a car and drive to and from Texas, where her family lives. But this year for the first time, we decided to drive home from Illinois, where my family lives. We first flew to Cleveland to visit a friend for a couple of days, then drove to Chicago for a one-day getaway, then spent Christmas week with my parents, my uncle, my sister and her family. And then for four days, we drove across America until we reached Los Angeles last night.

There are two types of people: the ones who get very excited when Susan and I share our road-trip plans and then those who think we're nuts. The two types distinguish themselves very quickly, and you can't persuade either type to see the other's perspective. But I will say that, before Susan, I was not a fan of road trips. To me, they were relationship-killers, swiftly and often awkwardly revealing in real time why my then-girlfriend and I were not well-suited for one another. But Susan loves them, and I soon came to love them, too. The arrangement is almost always the same: She drives, and I DJ. You'll know when we have a road trip coming up because, for weeks in advance, I will not shut up about the playlist I'm working on. (Because this question comes up: The playlist is not thematically organized or meant to be played in any particular order. It is merely a collection of songs spanning many styles, genres and eras that I think she will enjoy hearing — and that I will enjoy hearing as well.)

The argument against a road trip is that it takes a whole lot longer to get where you're going than if you flew there. This is also the argument for a road trip. I've never been a "Not all who wander are lost" kind of person — I emphatically always know where I'm going, thank you very much — but what I discovered about our lengthy road trips is that they have a way of stretching time and distance in a way that more traditional travel does not. When we hit the road over the holidays, our strategy is not to drive more than eight hours a day. We stop somewhere for lunch — probably for fast food, a greasy, salty, unhealthy indulgence we only allow ourselves on these trips — and we stay at a cute hotel/motel in the city where we'll be spending the night. (Also, we eat at a local place we've read good things about.) In other words, each day has its own destination that we are trying to get to. We're not pulling over every hour or so to check out this national park or that adorable-looking pawn shop. Mostly, we are zooming down the highway, soaking in the landscape and listening to music or podcasts. And, of course, we're also talking. People ask what we talk about. Honestly, everything, depending on whatever the views or the tunes are inspiring in us. Each day of our road trip, I exist in this reality outside of my normal existence. I usually don't have anything to write or review. To quote a line from Apichatpong Weerasethakul's Memoria that I think about a lot, "In here, time stops."

In some ways, I am describing the benefits of any good vacation: You mentally unplug, you leave behind the day-to-day, you reconnect with what matters. But as someone who has long been vacation-averse, always fearful that I'd be missing something important work-wise by being away, the road trips have been an opportunity to put aside my usual self and be someone else for a while. Granted, a holiday-season road trip is a little easier because it's a quiet time for most everyone — I'm not really risking missing writing assignments — but it's been good practice in learning how to actively enjoy one's life. Don't get me wrong: I love my life and love the work that I do. But turning off work mode and just being? That has been harder. The road trips teach me how to get better at it.

But even so, my brain doesn't switch off entirely. And this year during our trip — through Ohio, Indiana, Illinois, Missouri, Oklahoma, Texas, New Mexico, Arizona and finally California — I spent considerable time looking out the window at the gorgeous, changing landscape. And both Susan and I had the same reaction constantly, blurting out randomly, "God, this country is beautiful" before reflexively adding, "Well, except for ____." You can fill in the blank yourself: Donald Trump, MAGA supporters, anyone who's transphobic, etc. A big part of our love of road trips is seeing one knockout view after another. (Pictures never do the vistas justice.) And these past four days did not disappoint. But we sometimes caught ourselves mid-revelry. It's such a rich, incredible country as you drive through it. And yet.

We traveled through red states — not to mention the red areas of blue states — so we were constantly pondering the political tensions within America. The contrasts were striking. We saw endless amounts of farms, no shortage of small towns, but also big cities and baseball stadiums and mountains and cacti and truck drivers. You would not believe how many billboards there are promoting injury and accident attorneys — as well as cannabis dispensaries and guns and fudge. (Seriously, fudge is apparently a huge selling point for weary, hungry travelers.) Jesus is advertised a ton. Some places wanted you not to have an abortion. Some places wanted you to know that there was help out there if you did want one. And all the while we were listening to our favorite music — often, by American artists — and quietly noting those juxtapositions. Everywhere we went, we met friendly people at cool hotels and hip coffee shops and lonely gas stations and stunningly efficient, reliable McDonald's restaurants. But I never stopped thinking about the potential invisible divisions between me and some of the folks I interacted with. (Although I tried not to stereotype based on location: We all know lefties in red parts of the United States and Trumpers in blue parts.) 

The longer we drove, the more I thought about my work. I often quote a line from the late film critic James Rocchi: "I write about movies. Which means, really, I get to write about everything." That's very much how I look at my job, and while I write about all types of films from across the globe, it is impossible for me not to think about America when I'm writing about American films and culture. It would be foolish not to: If you believe that all movies (and music and television and...) are inherently political, then the entertainment we make says something about us — just like Jafar Panahi's It Was Just an Accident says so much about Iran or Jia Zhangke's Caught by the Tides expresses the reality of China. So it's probably no surprise that I wrestle with what America means all the time. 

But this year's road trip made me ponder the country in a different, more expansive and intimate way. It's one thing to think about America as an abstract concept — it's a very different experience when you're logging hundreds of miles of actual road each day as the nation passes across your windshield. I'd look out the window and marvel at the beauty — both the big, empty expanses and the bustling cities — and I'd realize all over again how lucky I am to have been born here, to do work that means so much to me, to be sitting by this woman I love so intensely, to have family and friends I care about. Those things are gifts. But they don't fully compensate for what this year has been like politically — just how mean, cruel and stupid so much of our daily lives has become. And then I'd think about my fellow Americans who seem completely cool with all of it — who may actually be actively cheering on that cruelty. I tried to stay off social media as much as possible over the two weeks we were out of town, but news still seeped in, and it made me mad all over again. Such a beautiful country with so much ugliness inside. 

Parts of me didn't want to go back to Los Angeles — not because I hate L.A. (quite the contrary), but because I didn't want to go back to reality. But the truth was, I had never fully left reality, even as I was awed by all that scenery. I'm home now, and I'm still trying to reconcile the wonders of our road trip with the nagging discontent I feel about the country. I wanted the break from real life, and I got it, but not entirely. 

It's pretty common for me to feel down after a vacation: You have all that fun time off, but then you have to return to the grind. So what I try to do is savor that holiday period and maximize its value. And I try to hold onto the electric emotions that a vacation stirred up. This year, though, those feelings seem a bit more pointed and urgent. I'm vowing to retain the sense of the vastness, grandeur and complexity of America as a physical space. And I want to remember that this is a country worth fighting for, even more so in the new year when there will be midterm elections and inevitably even more things to protest and condemn. Time stops during a road trip, giving you the chance to recharge. But then we're back on the clock, and we have to make the most of it.

* * * * *   

With all that said, let's now talk about movies. This was a great film year, even better than last year. Starting with a superb Sundance and then continuing with an all-timer Cannes before concluding with a fairly strong Venice/Telluride/Toronto, 2025 had no shortage of excellent movies. Here's my Top 10:

1. My Undesirable Friends: Part I - Last Air in Moscow 
2. Sound of Falling  
3. The Mastermind  
4. Grand Tour  
5. Sorry, Baby  
6. Sirat  
7. Below the Clouds 
8. Resurrection  
9. One Battle After Another  
10. If I Had Legs I’d Kick You   

This year for my list, I decided to do something different: The links lead to information regarding how to see each movie. I know how frustrating it can be to hear about potentially fantastic movies and then be unable to track them down. Hopefully those links will help. (And when in doubt, JustWatch is an excellent resource.) 

There were several films I felt sure would make the Top 10. Alas, there simply wasn't enough room for all of my favorites, including Caught by the Tides (No. 11), Peter Hujar’s Day (No. 12), A Little Prayer (No. 13), Marty Supreme (No. 14), and Blue Moon (No. 15). 

I'm dying to name more movies, but I'll stop there. However, if you'd like to see another take on this year, check out my ballot for Screen International, which only includes films that premiered in 2025. (In other words, My Undesirable Friends, which played at the New York Film Festival last year, is nowhere to be seen, but Sergei Loznitsa's fantastic Two Prosecutors, which was unveiled at Cannes this summer, is.)

And, as always, you can hear my extensive thoughts about my Top 10 on the end-of-the-year Grierson & Leitch podcast episode right here. 

* * * * *    

I'd like to thank everyone who read, watched or listened to me this past year. It is always nice to be in-demand, and I never take my good fortune for granted, especially when I reflect on everything I did in 2025. 

To start with, I have to acknowledge a professional milestone: In 2025, I celebrated my 20th anniversary of writing for Screen International. (My first review for the publication: Harry Potter and the Goblet of Fire. My most recent: the Jack Black/Paul Rudd Anaconda.) I can't say enough good things about our team, and I remain immensely proud to be Screen's Senior U.S. Critic. 

It was also a busy year for me over at the Los Angeles Times, where I got to review films I had seen previously at festivals but hadn't the chance to sink my teeth into yet. Those include No Other Land, Grand Tour, It Was Just an Accident, Blue Moon, Resurrection, Caught by the Tides and April. I did some fun features for the paper as well. I talked to the folks at Neon who put together the company's coveted annual FYC box set. I interviewed the marketing teams behind Longlegs, Anora and Conclave to learn how they made those indies box-office hits. I chatted with RaMell Ross about the Nickel Boys screenplay. I profiled Embeth Davidtz and Naomi Watts. I spent time interviewing every major actor in Severance to see how they survived the show's terrific second season. I answered the question, "What exactly makes an HBO Documentary Film an HBO Documentary Film?" I got the inside scoop on the making of three of my favorite movie posters from 2025. I hung out with Marty Supreme breakout star Odessa A'zion. And I got to write about two Charles Burnett classics: The Annihilation of Fish and Killer of Sheep. But the two highlights were spending part of a day in April talking to cinephiles at the Criterion Mobile Closet and spending part of a morning in July interviewing Spinal Tap. (As a separate interview for the piece, I also talked to Marty DiBergi. Rest in peace, Rob Reiner.)

As you saw above, my favorite film of the year was My Undesirable Friends, which I went to the mat for as much as possible in 2025. This started in August, when I interviewed director Julia Loktev for Rolling Stone in connection to the film's New York opening. Then in November, I reviewed the documentary for its Los Angeles release. (In between, I moderated a Q&A for the film with Loktev and subject Ksenia Mironova. My thanks to the folks at the American Cinematheque for making that screening happen.) Now if the Academy's documentary branch will just have the wisdom to nominate My Undesirable Friends for the Oscar.

Also at Rolling Stone, I said goodbye to some luminaries, including Gene Hackman, Robert Redford, Diane Keaton, Rob Reiner (co-written with Althea Legaspi) and Brigitte Bardot. Those pieces are never easy to write, but I take great pride in being handed the responsibility of paying tribute to artists who made a difference.

I've been a member of the Gotham Awards nominating committee for several years now, but in 2025 I was asked to be part of a new category: Best Original Screenplay and Best Adapted Screenplay. What a blast Carlos Aguilar, Monica Castillo, Jon Frosch, Esther Zuckerman and I had coming up with our choices. In February, after our annual LAFCA awards dinner had to be postponed because of the horrible fires, I presented our prize for Best Cinematography to Nickel Boys' Jomo Fray. (I was quite pleased with my speech, although it was easily outclassed by Fray's sharp outfit.)

It was another great year over at KCRW's Press Play, where I frequently appeared to talk to Madeleine Brand about movies. I'm always tickled when Christy Lemire asks me to guest on Breakfast All Day. And is there anything better than the Grierson & Leitch podcast? No, there is not. We will be celebrating our 10th anniversary in 2026. It is a pleasure, week in and week out. 

In 2025, I also moderated a bunch of Q&As. As I look back through the list, a series of happy memories come to mind. There was RaMell Ross good-naturedly teasing someone for walking out of the theater in the middle of the Q&A. I met Bing, the massive dog in Naomi Watts' The Friend, who was the hit of the Q&A I moderated with filmmakers Scott McGehee and David Siegel. (Also, Bing's owner Bev Klingensmith is the best.) Homebound director Neeraj Ghaywan was a delight, not least because (as I learned) he's a Grierson & Leitch listener. There were the Q&As I did with director Shoshannah Stern and star Marlee Matlin for the documentary Marlee Matlin: Not Alone Anymore: It was the second time in my career that I had moderated an interview with deaf subjects. (The first time was almost exactly 10 years earlier for The Tribe.) I spoke with Ethan Hawke as part of a double feature of Blue Moon and Before the Devil Knows You're Dead, which I love as much as he does. There was the conversation with Errol Morris for The Thin Blue Line, which mostly consisted of Morris (who sat through the movie for the first time in forever) simply processing all his memories and feelings. I got to share Miller's Crossing with Gabriel Byrne, who couldn't believe the movie was 35 years old. (He told so many great stories.) I got to meet director Mascha Schilinski and cinematographer Fabian Gamper, who have been promoting Sound of Falling all year while raising a newborn. I spoke with director Geeta Gandbhir and producers Alisa Payne and Nikon Kwantu for The Perfect Neighbor (my No. 19 movie of the year) and director David Osit and producer Jamie Goncalves for Predators (No. 20). I was asked to moderate a special one-night-only event with OK Go. And I got to spend a very fun Saturday evening moderating two Q&As with Kelly Reichardt for The Mastermind. She didn't want people recording the conversations on their phones, and because people love her so much, they obliged her request. It was very gratifying to see so many in the audience come up to her afterward to just express their affection for her and her movies. I could go on — Oliver Laxe, Bi Gan, Gianfranco Rosi, Benny Safdie, Akinola Davies Jr., Jafar Panahi, Rose Byrne and Mary Bronstein — but that's more than enough.

It's been a treat to start writing reviews for the A.V. Club, which allowed me to stick up for underrated movies such as La Grazia and tear apart bad ones like Eleanor the Great. For InsideHook, I wrote about seeing Paul Simon in concert, perhaps for the last time. For Cracked, I talked to comedians who intrigued me, like Roy Wood Jr., George Wallace, Riki Lindhome, Tom Green and Cheech & Chong. And for Paste, I interviewed Jonathan Gould about his exhaustive Talking Heads book.

Were there plenty of terrible and sad things that happened in 2025? Absolutely. For a moment, though, I am not going to dwell on that. Instead, I choose to be hopeful for a new year. Susan and I will be celebrating our 20th wedding anniversary in April. We haven't decided where we're going yet. I defer to her spirit of adventurousness. My job is providing the soundtrack.

(Photo by Susan Stoebner, taken in Heber, Arizona, December 29, 2025.) 

'Resurrection' Review

Best movie this weekend? That would be Bi Gan's latest stunner. For the Los Angeles Times, I swooned about Resurrection.

'The Secret Agent' Review

For the Los Angeles Times, I reviewed one of the most acclaimed international films of the year. Here's my take on Brazil's The Secret Agent. 

'It Was Just an Accident' Review

For the Los Angeles Times, I reviewed the winner of the Palme d'Or at this year's Cannes. Here's my take on It Was Just an Accident. 

'Eleanor the Great' Review

When I put together my rankings of everything I saw at Cannes, I seriously wondered if Eleanor the Great was the worst film of the festival. I ultimately decided to place it second-to-last, but a rewatch has me wondering if I was too kind. My review is over at the A.V. Club.

'Caught by the Tides' Review

I'm not claiming it's any kind of blockbuster, but the fact that Jia Zhangke’s Caught by the Tides is still playing in and around Los Angeles more than a month after it opened is damn heartening. For the Los Angeles Times, I extol its virtues, and explain why it's actually a decent primer for someone just getting into Jia. Hope you enjoy. 

The Grierson & Leitch Podcast: 'Mission: Impossible,' 'Friendship' and My Cannes Recap

I'm back from Cannes, which means it's time to get the podcast back up and running. We reviewed Mission: Impossible – The Final Reckoning (and I told the funny story of why I didn't end up reviewing it for Screen International). Then, we disagreed about the new Tim Robinson comedy Friendship. Last but not least, I offered some takeaways from this year's Cannes. Hope you enjoy.

The Film Comment Podcast: Talking about 'Resurrection,' 'The Mastermind' and 'Young Mothers'

My last day at Cannes, I was on the Film Comment podcast, hosted by Devika Girish. I was joined by my buddies Justin Chang and Alison Willmore, and we had a blast talking about a bunch of films we'd seen at the festival. Also: We were pretty loopy from exhaustion, so it was a loose and lively conversation. But I made sure I was focused while singing the praises of Kelly Reichardt's The Mastermind. It was the first time I had discussed the film with anyone and, well, I was pretty effusive. Hear the whole thing down below.

Cannes 2025: 'The Six Billion Dollar Man' Review

Such is the weirdness of a film festival that you can go to a premiere of a documentary and then the subject of the film will be there. Like when I saw The Six Billion Dollar Man and Julian Assange was in attendance. The movie traces the history of WikiLeaks and Assange's later imprisonment. You can read my review here.

Cannes 2025: 'Honey Don't!' Review

Honey Don't! is the second solo narrative feature from Ethan Coen, who previously made Drive-Away Dolls. I wasn't a fan of that film, but this one works better. And Margaret Qualley is a big reason why. I reviewed Honey Don't! for Screen International.

Cannes 2025: The Wrap-Up and the Rankings

About halfway through this year's Cannes, I received some bad news that I had been expecting: A good friend succumbed to cancer. Within 30 minutes of hearing of her passing that morning, I was off to a movie, which featured a father dying of cancer. The movie after that featured a mother dying of cancer. Death was on my mind anyway, but over the next several days it kept popping up in the films I was watching, almost as if they were channeling my inner monologue, projecting my new reality up there on the screen.

I should not have been surprised. After all, movies tackle dramatic subjects, and few are more dramatic than mortality. I pride myself on being able to block out the world's distractions when I go to review a film. (I consider that a crucial part of my job.) But I felt the occasional jolt of recognition when death came creeping into a film's plot: "Oh, right, that. There it is again." Repeatedly, I was reminded that I existed in a new world, one without that person I just lost.

At the same time, it was extraordinarily surreal to be here at Cannes while processing my friend's passing. The place is just so damn beautiful, and the movies are so rich and rewarding. All festivals are a bubble from the real world -- that's one reason why people love attending them -- but a big part of me was able to shut out my sorrow simply because of my stimulating environment. Death may have followed me from screen to screen, but Cannes is so alive that you can trick yourself into forgetting. Still, I'm smart enough to recognize that my sorrow will be waiting for me when I return to Los Angeles. Bubbles have a nasty habit of bursting.

* * * * *   

With that acknowledged, let me now add that I found this to be a deeply great edition of the festival. Some of the movies I was most anticipating let me down -- the Spike Lee, the Wes Anderson, most certainly the Ari Aster -- but there was ample compensation from the expected heavy-hitters who did deliver the goods. And, of course, there were the revelatory discoveries, like Oliver Laxe's Sirat and Mascha Schilinski's Sound of Falling, easily the best movie I saw in Cannes. God bless Mubi, who took a chance on her ambitious, kaleidoscopic drama that spans roughly 100 years and four generations of different families living in the same home. The esteemed distributor is actually behind my Top Two from the festival, which also includes Kelly Reichardt's The Mastermind, one of the finest films this very fine filmmaker has ever produced. From the dazzling execution of Bi Gan's Resurrection to the formal rigor of Sergei Loznitsa's merciless Two Prosecutors, the major auteurs came out swinging. And that's not even mentioning two movies beloved by many here and merely really, really liked by me: Jafar Panahi's It Was Just an Accident and Kleber Mendonca Filho's The Secret Agent. 

Before I reveal my rankings, let's now take a moment to mention the films I wasn't able to get to, like Adam's Interest, The Love That Remains, Mirrors No. 3, My Father's Shadow, Urchin, A Useful Ghost and Yes!, to name just a few. (Some may notice that I didn't review Mission: Impossible – The Final Reckoning. I was set to do so, but my L.A. screening got canceled midway through because of a fire. It's a long story, but everyone's fine, so don't worry.)

From worst to best, here's a list of everything I saw, with links leading to individual reviews: 

37. Eddington
36. Eleanor the Great
35. The Wave
34. Fuori
33. The Richest Woman in the World
32. Leave One Day
31. Splitsville
30. The Chronology of Water
29. Alpha
28. The Phoenician Scheme
27. Romeria
26. Highest 2 Lowest
25. Honey Don't!
24. The Little Sister
23. The History of Sound
22. The Six Billion Dollar Man
21. The Plague
20. Woman and Child
19. Case 137
18. Pillion
17. Eagles of the Republic
16. Arco
15. Young Mothers
14. Enzo
13. Nouvelle Vague
12. The Secret Agent
11. It Was Just an Accident
10. Renoir
9. Die, My Love
8. Orwell: 2+2=5
7. Sentimental Value
6. Resurrection
5. Sirat
4. Sorry, Baby
3. Two Prosecutors
2. The Mastermind
1. Sound of Falling

For the first time since I started going to Cannes in 2013, I saw every film in Competition, all 22 of them. What that means is that when the jury, headed by Juliette Binoche, announces its awards, I won't have the usual FOMO feeling of "Oh shoot, I didn't see the Best Screenplay winner" or whatever. 

However, that doesn't mean I'm any more confident about what will take home the Palme d'Or than I was in previous years. Remember: I have never correctly guessed the winner, and I'm just as uncertain this year. Part of the problem is that the jury is made up of new people every year, and unless you're hanging out with them, you're just speculating on where their head is at. That said, here's my thinking. I could see It Was Just an Accident, Resurrection, The Secret Agent, Sentimental Value or Sound of Falling winning. Forced to narrow down the field further, I'll go with the movies that are perceived as the front-runners: It Was Just an Accident, The Secret Agent and Sentimental Value. (Why are they "perceived" to be the front-runners? Oh, because the people who like to make predictions about this stuff have said they are.)

My gut tells me it's either going to be It Was Just an Accident or Sentimental Value. In one corner, you have Jafar Panahi, one of cinema's giants, who has recently been freed from prison, enjoying a hero's welcome here at the festival when his film premiered. In the other, you have Joachim Trier, whose last Cannes film, The Worst Person in the World, took home Best Actress for Renate Reinsve. Sentimental Value seems to be the most beloved film, but while it's dangerous to make predictions based on the temperament of the jury president, I just feel like Binoche would be more inclined to go with a more challenging, politically incisive film for the Palme. So I'm picking It Was Just an Accident. If Sound of Falling or The Mastermind win, I would be ecstatic. 

Regardless how the awards shape up, readers should be excited about a bunch of great movies coming their way soon. Now, off to sleep for me, and an exit from the bubble into whatever awaits me on the other side.

Cannes 2025: 'The Mastermind' Review

Kelly Reichardt's phenomenal hit streak continues. For Screen International, I reviewed The Mastermind.

Cannes 2025: 'Eagles of the Republic' Review

Eagles of the Republic concludes filmmaker Tarik Saleh's Cairo trilogy, three movies that (in their own ways) examine the corruption and tyranny of the Egyptian government. This final installment is the funniest, looking at a fading movie star recruited by the regime to make a propaganda film. But it eventually becomes a despairing thriller. My review is up at Screen International.

Cannes 2025: 'Sentimental Value' Review

Renate Reinsve reunites with Joachim Trier for Sentimental Value. It's not quite to the level of The Worst Person in the World, but it's a very touching family drama. My review is here.