A BOY WHO CANNOT SEE THE BEAUTY
Other movies
IF I HAD LEGS I'D KICK YOU
Director: Mary Bronstein
Rose Byrne dominates in Mary Bronstein’s psychologically oppressive and compulsively dark story of a mother firmly on the edge. Both the actress and director take no prisoners as Linda (Byrne) appears in a cacophony of demands on her time as a wife, mother and (a barely functioning) therapist. Her sickly daughter is never seen, only a barrage of requests are heard, compounded by the ceiling that has caved in on her apartment, forcing Linda to move to a motel as her long-distance husband occasionally dials in. And one of her patients has disappeared. While the stress ramps up on screen, there is a catharsis to it all. Watch out for a deft cameo from A$AP Rocky.
SIRÂT
Director: Oliver Laxe
‘Sirat’ is a term referring to the treacherous bridge between heaven and hell. Oliver Laxe’s film is certainly an odyssey and a sonic spectacular: his hypnotic rhythms carve a path for this temporal road movie in which Sergi López plays a father who has taken his son to search for their daughter/sister, missing in Morocco’s nomadic and quasi-feral rave scene. With an apocalypse taking place offscreen, the protagonist flees across a mythical landscape with a crew of non-professional actors. Sirât glimmers between sound and fury, pounds between loss and unfathomable grief, and leads audiences to what feels like the end of creation. Spain’s Oscar entry and 2025 Cannes jury prize winner is that rare cinematic achievement: an indelible gift of sound and vision. "This film contains scenes that may be considered sensitive for some viewers. Viewer discretion is advised"
LOST LAND
Director: Akio Fujimoto
In this quietly powerful, first-ever Rohingya-language feature, Japanese filmmaker Akio Fujimoto offers a haunting, intimate portrait of two siblings fleeing persecution in Myanmar. With nothing but vague directions and each other, nine-year-old Somira and her younger brother Shafi begin a harrowing journey to join an uncle in Malaysia, crossing borders by sea and land and navigating a world shaped by smugglers, fear and exploitation. With a cast of non-professional actors, most of whom lived refugee experiences, the film blends realism with lyrical restraint. Eschewing melodrama for quiet observation, Fujimoto captures the disorientation of displacement and the uncertainty of fragile hopes. Lost Land is a timely, deeply human reflection on survival, resilience and the Rohingya’s eternal search for a place to call home.