Caroline Fioratti's drama brushes with interesting ideas but is, maybe intentionally, as directionless as its ensemble.

"Parasite" star Song Kang-ho stars as a child trafficker in a stirring new South Korea-set drama that's more uplifting than its premise suggests.

This Best Picture nominee from Japan effortlessly, gracefully conveys the kinds of massive stakes that we tend to reserve for Hollywood's biggest blockbusters.

Dan Stevens speaks silky German while contemplating romance and existence as a robotic partner to an excellent Maren Eggert.

The German filmmaker is back to his deeply melancholic ways, and while his new movie is a tougher paradox to crack, it's mighty rewarding.

Mohammed Rasoulof shot his latest project in secrecy, having been targeted by his home country in the past for the revealing stories he tells. It went on to win the Golden Bear in Berlin.

Charléne Favier's frosty feature debut covers a broad canvas of emotional consequence via a small-scale, untraditional, ultimately devastating sports story.

“The Most Beautiful Boy in the World'' showcases an inherent element of nonfiction storytelling that too many documentarians end up disguising in the final work—the idea that the questions we initially set out to answer are not always the ones that are most intriguing later on.

As if responding to the pair of notable December releases with surrogate father-daughter storylines – Paul Greengrass’s “News of the World” and George Clooney’s “Midnight Sky” – Mexican filmmaker Fernanda Valadez’s feature directorial debut “Identifying Features” briefly unites a woman and a young man on parallel searches for long-lost relatives. She is Magdalena (Mercedes Hernández), who is beginning to believe her son may be dead. He is Miguel (David Illescas), who is hoping against hope that his own mother is not. And while they’re together for only a few heartbreaking scenes in Valadez’s striking drama about searchers who become wanderers (called "Sin Señas Particulares" in Spanish) , the bond is emotionally informed to a sharper pitch than either of those two aforementioned Hollywood projects.

Thomas Vinterberg’s “Another Round” opens with a scene that splits the difference between ethereal and anarchic, and over the following two hours this Danish drinking dramedy tasks us with determining what exactly that difference consists of. The primary tool in that endeavor? Shots. Lots and lots and lots of shots, along with some swigs of wine, beer and vodka for good measure.