15 Films to See in April

“Gameplay simplicity and use of the trendy liminal horror subgenre made The Exit 8 a viral success––currently the game has sold over 1.5 million copies––which also saw a boost in popularity from streamers whose videos have amassed millions of views. But how do you create a feature-length film out of a game that could be beaten in a matter of minutes?”

— C.J. Prince, Reviewer

“Mile End Kicks gives Grace a chance at her dream by packing a bag and moving to Montreal without a safety net. This city is the Canadian music hub. The literal pulse of everything fresh, underground, and worth discovering––the perfect backdrop to get into Morissette's head and, by extension, her own to write about that album's personal impact.”

— Jared Mobarak, Reviewer

“Quiet and heartbreaking, if not slightly conventional, Omaha unfolds like a slow-burning mystery, mostly taking Ella's skeptical, worried perspective as she tries piecing together clues about this unexpected family road trip. Soon things come into sharper, painful focus.”

— Jake Kring-Schreifels, Reviewer

“The most crucial thing that Ozon's film gets right are the moral, indeed philosophical considerations that build its central character. As technically impressive as Visconti's version was, powered by Marcello Mastroianni's empathetic, hot-blooded performance, it operated on a fundamental misunderstanding of the source. Meursault is not supposed to be empathetic or hot-blooded; every time Mastroianni pulls at your heartstrings with those earnest, teary eyes, it's undermining Camus' chilled, quietly shocking worldview.”

— Zhuo-Ning Su, Reviewer

“All of Romvari's works could be read as forensic exercises in which a young adult––often a budding cineaste––morphs into a kind of detective, exhuming secrets about her family's past and wrestling with the aftermath of those discoveries. But in Blue Heron, the visual grammar literalizes those investigative impulses.”

— Leonardo Goi, Reviewer