Given that hookups are inherently quick and casual and impersonal, they are rarely portrayed in a romantic light. But Weekend flips the script on one-night stands by giving its two lovers enough time and space to explore how far their feelings can take them. While both Russell (Tom Cullen) and Glenn (Chris New) are gay, they have more differences than similarities with each other. Russell is reserved, awkward, and not entirely open, while Glenn is the exact opposite. 

This makes for intriguing conversations, which then makes for a smart, thought-proving watch. It’s talky but meaningful, and slow but assured. But most of all it’s romantic, and it’s sure to pull at your heartstrings the whole time. 

Featuring real, in-the-moment footage of operations to rescue young queer individuals from the continuing anti-gay purges in the Chechen Republic, Welcome to Chechnya makes for a demanding but essential call to action. There’s a genuine sense of fear that pervades the documentary, not just for those being rescued after being forcibly outed, beaten, and trapped by the people around them, but for the filmmakers themselves, whose operations are built on meager resources and desperate, spur-of-the-moment decisions. It’s a remarkably courageous film—one that also presents new ways of keeping sensitive subjects safe through the thoughtful use of deepfake technology, keeping their identities hidden while allowing them to freely express themselves.

It may not teach us anything that we don’t already know by now, but the documentary Totally Under Control—filmed in secret, in defiance of the Trump administration—still stands as a valuable historical document so that the same mistakes can be avoided in the future. Boiled down to simple terms by doctors and other experts, the film’s explanation of the United States’ failure to adequately contain their own COVID-19 outbreak is always science- and fact-oriented first. And in its own classy, level-headed way, the film emphasizes that every politician, celebrity, and media outlet has a crucial part to play in making sure nobody panics and chases any counterproductive agendas. It should be obvious by now that we’re all on the same team.

If you enjoy wondering aloud to yourself how filmmakers were able to make a movie at all, 1988’s almost wordless tale of two bears trying to survive the Canadian mountains was somehow shot with real, expressive bear “actors,” despite the film being a work of fiction. A cross between a stunningly photographed nature documentary and a brutal folktale, The Bear gets right to the uncompromising conditions out in the wild, where human beings are portrayed as just as savage—and just as merciful—as the beasts they hunt. Clever editing and Jean-Jacques Annaud’s directorial vision hide all the seams in the movie’s magic tricks, allowing us to fall in love quickly with these majestic bears and the all-too-human emotions they seem to be expressing.

The Earth Is Blue as an Orange chronicles the lives of a single mother and her four children as they live in the war-torn Donbas region of Ukraine. Despite the constant threat of violence, the family finds solace in the arts (more specifically in filmmaking). While striving for normalcy in these tumultuous times, they channel their efforts into creating a film about the effect of war on their family. Even as they try to lead individual lives, nurturing this collective project, bombs, debris, and their reality is unavoidable. 

This film is a moving testament to the power of art, creativity, and hope in the darkest times. 

Hilarious and sweet, Meet the Patels is a charming collaboration between siblings Geeta and Ravi Patel. While the film is a documentary, it feels more like a real-time romantic comedy – which makes sense, given that it’s about Ravi’s quest for the perfect wife. Standard tropes, such as parental disapproval, are present here, but the film keeps it fresh as it focuses on the intricacies of Indian dating, specifically with traditional matchmaking and modern internet dating. However, like some of the best romcoms, the real heart of the story lies outside of Ravi’s love life. What drives the story is the dynamic between Ravi and his family. Balancing parental expectations with personal hopes is a struggle anyone can relate to, though this film presents this through comedic debates about marriage. At the same time, these debates end up insightful and oftentimes reveal fundamental principles the family believes in. It’s only through resolving familial issues that Ravi finally figures out his love life.

A relatively straightforward story of a village of Sotho people building the courage to resist unwanted development on their land and the erasure of their culture, the rousingly titled This Is Not a Burial, It’s a Resurrection wastes no time on the oppressors’ point of view. For director Lemohang Jeremiah Mosese, there is no debate: these people are more important than any markers of progress hoping to displace them. Their struggle is rendered in some of the most crisp and colorful cinematography you could hope to see, with a powerful performance by the late, great Mary Twala front and center, channeling so much sadness into fury and determination.

Audition is not for the faint of heart. It’s shockingly violent and deeply unsettling, filled with sights and sounds that will haunt you for days on end. But there is grace to its terror; it’s profound and artistic in ways that elevate it from generic horror fare.

On a deeper level, Audition is about the destructive power of abuse, trauma, and loneliness, about how a society that neglects to recognize this eventually suffers from it. The revenge plot isn’t merely individual, as well, but a representation of the female subconscious: tired of objectification, eager for redress. And everything about the way the film is made, from the shaky camera and titled frames to the dramatic shadows and eerie lighting, reflects that imbalance. 

Audition may be chilling and gruesome, but it’s also smart and important, a psychosexual thriller that captures female anger well before it became the rage. 

For the longest time, American media coverage was skewed to justify the presence of US forces in Arab states. Control Room unveils that bias by following Al Jazeera at the start of the Iraq War in 2003. One of the biggest Arab media outlets at the time, Al Jazeera dared to cover both sides of the war, but by doing so put a target on its back. It was vilified by both the US government, which called it an Osama mouthpiece and the Arab world, which called it a Bush ally. 

Control Room shows the difficulty (if not sheer impossibility) of achieving journalistic balance, objectivity, and integrity. Through interviews with Al Jazeera reporters and US military officers, we witness how lines are blurred, loyalties are tested, and purpose is shifted in a state of war. A seminal work on media bias and press control, Control Room is vital and enlightening, a must-watch to understand the inner workings of the fourth estate. 

In his last film, American Serb film historian Peter Bogdanovich celebrates silver screen legend Buster Keaton. The subject alone is compelling to watch. It would be easy to pull clips from Keaton’s works, dig through the headlines, pull in some celebrity interviews, and call it a day. However, in Bogdanovich’s hands, this documentary handles Keaton with respect. Instead of focusing on the scandals, Bogdanovich focuses on Keaton’s brilliant work. Instead of reciting facts, Bogdanovich highlights how his bits influenced film today. Excellent editing – cuts, structure, and scoring – helps us glide through Keaton’s work. The film truly understands Keaton’s life and exactly why he’s brilliant. Comprehensive yet very focused, this documentary honestly feels better than film school.