As long as we live in a world that forces people to choose between authenticity and survival, Emerald Fennell says, there is no happy ending waiting on the moors.
In a year as jam-packed with quality as 2025 was, these nominations are a reminder of why it is worth braving the winter weather to see them the way they were meant to be seen: on the big screen.
It is a self-assured piece of filmmaking centered around a magnetic performance from Amanda Seyfried as Lee, who commits to the role with astounding intensity.
Together, these films suggest that relationships don’t really end at all—they simply change form. How we handle that evolution—with distance, honesty, or something in between—is up to us.
I hope you will take time this holiday season to revisit one of his films with friends or family. It is a wonderful way to honor the Reiners' legacy and embrace the kind of small, human moments that keep us going through even the darkest of days.
All the world’s a stage here, but nowhere as much as that house. It is where these characters give the performances of their lives—trying desperately to tell their stories before the curtain comes down, the set is redesigned, and the next generation takes the lead.
Where the dissolution of animal rights and the creeping fascism of the Wizard’s regime was a subplot of the first "Wicked," it is firmly the focus here.
So much of the joy of Oliver Hermanus’ "The History of Sound," the new film coming to The Triplex this week, comes from the moments when we sit with the characters and let this music wash over us.
"Bugonia" reads like a plea to break free of the doomed mindset that increasingly feels like the status quo. We have to do something, anything, to save this world—no matter how crazy it may seem.
We are celebrating this subgenre all October with our "Gorecore" series, which continues tonight with "House," a surreal spectacle from director Nobuhiko Obayashi.
