“You Can See Everything” Proves Secrets Hide in the Open
You Can See Everything is a fever dream of a documentary, a masterpiece that is unyielding in its pursuit of something, anything, real, but only finding that the chasm between fact and fiction is wider than any of us realized.
“Baby Doe” Asks How We Got Here
Jessica Earnshaw has made something painful and urgent with Baby Doe, something that should encourage meaningful change to the healthcare system of our contemporary society.
NYFF Shorts: “RW-LO” and “A Woman’s Place is Everywhere”
A review of two short films from the 2026 New York Film Festival program.
NYFF: “For the Moon” Shows the Scrappy Creativity of Art
For the Moon offers the viewer the point of view of young people as they process their lives and the world around them through the art of filmmaking.
“Galicia!” Looks at the Apocalypse Through Home Movies
Galicia! is a bizarre magic trick, one that could only have come from the minds of Maguire and Greenberg.
NYFF: “London” Finds Humanity in the Passenger Seat
London is gentle and introspective, the kind of car ride that could go on forever.
“Clown Panic” Looks Beyond Fear
Clown Panic is not sensationalist. It’s grounded in the distinctly human knee-jerk reaction to fear with a mob mentality.
“Fjord” is Staggering and Cold
It’s not about which viewpoint the audience agrees with, but Fjord doesn’t dig into the problem in the way a film with a direct point of view would have.
“Digger” Digs its Own Grave
Digger is a misfire that manages to be both safe and outlandish, yelling without anything to say.
“Lady” is Absurd and Emotionally Rewarding
Lady excels because of the beautifully crafted woman at the center, but also because of how deeply it is willing to explore the depths of human loneliness.
“On a String” is an Ode to the Pain and Absurdity of Freelancing
Full of fantastic one-liners, beautiful moments that capture the indecision of early adulthood, and charmingly quirky side characters, On a String marks a fantastic debut from Hagen.
“Primetime” Sees How this Looks and Hates it
Primetime mythologizes the man behind To Catch a Predator and the country who watched him.
Fantastic Fest ’26: “I Have Proof” Asks for Patience in its Scares
For those with patience and lovers of found footage, I Have Proof is an exciting throwback entry into the genre.
Fantastic Fest ’26: “Bloody Tennis” Shows the Beautiful Brutality of the Sport
Bloody Tennis is a bloody blast. Mix together the unsettling bad vibes of Suspiria with the homoerotic undertones of Challengers and you’re about halfway there.
Fantastic Fest ’26: “What Happened to Doris?” Sees a Mother Fighting for Her Kids
Even though it’s a story that is unique to a real woman, What Happened to Doris? has an air of predictability, a familiar set of beats for the grizzled horror fan, but perhaps something thrilling for the newcomers.
“Babystar” Shows the Horrors of Family Influencer Life
“I don’t like being another’s product,” Luca eventually finds the strength to say. Much of Babystar is Luca attempting to forge her own life and existence beyond this bizarre career her parents have forced her into.
“Lockjaw” is a Wired Shut Anxiety Attack
Lockjaw takes its limits and uses them as a strength, creating a pseudo bottle thriller about the cusp of adulthood.
“Come with Me” Looks into the Heart of Belief
Come with Me shows the “why” behind the search for meaning in life. How this search for betterment, when misplaced, can lead to ruin.
“Idiots” Plays it Safe and Stoner
As Idiots stands, it’s not a new or well-developed look at the broken systems that keep rich people rich and poor people poor, nor does it crack a joke about something that hasn’t already happened in a frat house somewhere in America.
“Teenage Sex and Death at Camp Miasma” Needs More Flesh
Teenage Sex and Death at Camp Miasma is supposed to be a release, an explosion of flesh and fluids, but its scream is not as triumphant as one might hope.