Dust Bunny is meant to entertain as much as it’s meant to frighten. Where snappy dialogue provides as much of a thrill as every creak of the floorboards.

Renoir creates nostalgia for the moments Fuki is living through in a way that asks the audience to remember their own thorny adolescence as it is unperceptively shifting toward adulthood.

Levack is still one of the Canadian filmmakers to watch and Mile End Kicks will stir up a lot of positive nostalgia for many viewers, but for others it’ll feel more like a cover than an original.

Frankenstein is missing the intimacy of Shelley’s novel which makes the film feel as though it is a mere recreation of life instead of life itself.

Most people grow out of the need to be the center of someone’s world. If not, Obsession warns, it might just be the death of you.

Bayaan asks us what role we’re playing in all of this. Are we bystanders or will we refuse to rest until the real story is told?

Forastera is a powerful debut feature that captures summertime and the tendency of adolescence to swing between freeing and stifling. Between youthful joy and adult sadness. Somewhere in the middle is life itself, in all of its painful, achingly lovely glory.

Whitetail is a cautionary tale about how preservation must start from within before we’re able to share it with the world around us.

Nuns vs. the Vatican is brave, journalistic storytelling in the name of justice.

Levers is a slice of life that has been altered irrevocably and captured in an utterly magnificent fashion.

Honey Bunch is an extreme attempt to discover how to love someone and how to manage the mistakes we make as we try to create a relationship built on devotion.

To experience Hamnet is to fall in love, to be pulverized by the grand emotions that make us alive.

Code 3’s mix of tones creates a funny, touching film that speaks to the unsung heroes of the healthcare world: the EMTs.

The Testament of Ann Lee is a frantic piece of passion that etches Ann’s name in the history books. 

Swinging between a touch too dramatic and utterly visceral, The Cut lands its fair share of punches.

Stranger Eyes asks for the viewer’s attention and perception, skews it, and then asks viewers to find the fine line between surveillance for the sake of safety and for the thrill of voyeurism.

Somnium is an unsettling look at the facade of Los Angeles and the way it can be molded to make or break a person’s spirit.

The Fantastic Golem Affairs is about connection in the purest sense. It asks us to view each other as our weirdest and most vulnerable selves to see if there’s still worth within us.

Toxic Avenger gives you the splattering brain matter, flying blood, and oozy, toxic heart on its sleeve. When you boil it all down, The Toxic Avenger (2023) is a movie about a dad trying to show his kid how much he loves him and taking down the corrupt American healthcare system along the way. Isn’t that what superhero movies should be all about?

Maybe that’s where the title of What We Hide comes from. We often hide our love when people hurt us or we hide our pain when we love someone. Neither is sustainable. Something has to break.