The Things We Kill is both personal and political. Director Alireza Khatami talks about making a film across borders, the violence of translation, and redefining what civilization means in a world obsessed with progress

full review here: https://t.co/xrSRVL7f9l

There’s been a lot of discourse about this pull quote - but hyperbole aside, this is a rare kind of art. I’ve been running on control for months. HAMNET is the first thing that reminded me how to stop and feel again. I wrote about my journey with grief and this movie. Link below

Today, our editor George Iskander dives deep with Lotfy Nathan about his filmmaking journey and his latest film, "The Carpenter's Son," staring Nicolas Cage and FKA twigs, which explores Jesus' teenage life through the lens of faith, doubt, and temptation.

Bella Zoe Martinez star and writer of Once More Like Rain Man reclaims autistic storytelling from the stereotypes that shaped it. We spoke with Bella about writing from lived experience, creating accessible film sets, and breaking Hollywood’s idea of “normal.”

In Pasa Faho, Nigerian comedy legend Okey Bakassi steps into one of his most personal roles yet as a father trying to bridge distance, culture, and masculinity. We spoke with Bakassi about tradition, vulnerability, and what it means to be a global parent

Today on FilmSlop, our co-founder and co-editor Ali El-Sadany discusses his perspective on the Muslim International Film Festival, as both a member of the selection jury and as an attendee.

Eman Ibrahim’s review of the Palme d’Or winning Iranian film IT WAS JUST AN ACCIDENT, directed by Jafar Panahi

35 mm, 70 mm, IMAX, VistaVision…PTA’s latest film, ONE BATTLE AFTER ANOTHER, is available to watch in all these formats, but what are they? Why does it matter? Caleb Hamilton talks about the experience of watching film on film.

I started @filmslop with @jerseyphysicist because of Kedi. I saw my cat Tiger in every Istanbul cat and it taught me how special films could be. After losing Tiger this week, I decided to revisit the film. he didn’t just inspire my first review but taught me how to be me

Don’t miss @jerseyphysicist interview with Gaia Caramazza, a journalist and filmmaker. Caramazza dives deep into her background, journey into filmmaking, and the story behind her debut, Dispatches, which offers an unparalleled look into the student movement at Columbia

Aftersun is a quiet story about the things we carry with us even when they are no longer there. In our review, @nymphspond revisits her relationship with Turkey to unpack how the film captures the joy, grief, and distance woven into family and place

The real issue with film crit is that we treat love for the mainstream like a flaw, as if popularity dilutes meaning. Film crit should care less about What we love and more about Why we love. A popular film isn’t a failure. it’s a chance to understand our shared lived experiences

In light of recent atrocities from ICE we’re selling custom shirts from your favorite films - All proceeds will go to Immigrant Defenders Law Center

MATERIALISTS feels like a warm hug for anyone stuck in the trenches of modern dating while also somehow feeling timeless. It’s a movie for real lovers, a soulful drama about the romantic capital of being valued. Never doubt Celine Song

Make sure you don’t miss @wormymcwormersn ‘s powerful & personal review of this year’s best picture winner

Immense congratulations to the wonderful Sean Baker, who once honored the Music Box with a profile in Sight & Sound🥰🥰🥰

In an exclusive interview with FilmSlop, Carlos Diehz (Cardinal Vincent Benitez in Conclave) discusses jet lag, the political currents within the Catholic Church, and architecture. Read Katie Mae Ryan's interview with Diehz at the link in our bio.

Nominated for 0 #Oscars

hi! my annual video countdown of the year's best movies will be up on monday, january 13. on the advice of "No Other Land" director Basel Adra, this year's fundraiser will support The Palestine Red Crescent Society. and the fundraiser is now live! https://t.co/ql6cCwVoMn