A lonely retail worker becomes convinced her cat has been replaced in Adrian Murray's quiet Canadian drama, a world premiere at VIFF 2026.

A Zamboni driver says he was drafted by the Rangers, but nobody can say who he is. Cody Lightning's second feature, a TIFF award winner now at VIFF, is a funny, heartfelt hockey drama where no one winks at the camera. Here's my capsule review.

John Turturro plays a pickpocket past his prime in a city that no longer runs on cash. A quick capsule take from VIFF 2026, with a full review to follow at release.

Steven Knight says his first draft of Bond 26 is done. That's not really the story. This is the first Bond script written without a single Broccoli or Wilson in the room, and between Denis Villeneuve's reverence and Gary Oldman's Jack Lowden slip-up, it's worth asking what a Bond built entirely by outsiders is going to look like.

François Truffaut said a true anti-war film was impossible. Come and See is the film that proves him wrong — and the story of how it got made is almost as disturbing as the film itself.

Joel Potrykus's Buzzard follows a small-time scammer whose anti-corporate rage only ever expresses itself as more scamming. Streaming on the Criterion Channel, this micro-budget character study turns its rough edges into part of the point.

Zach Cregger's Resident Evil reboot skipped Leon, Claire, and Jill entirely, and still opened at #1 with a 96% Tomatometer. A look at why treating the games as a sandbox instead of a script finally cracked the video game movie curse, and why Cregger says he's done doing this again.

Companion just hit Netflix with a strong premise about a robot reclaiming her autonomy, and a lead performance from Sophie Thatcher that deserves a more confident movie around it. Here's why the tonal whiplash keeps it from landing, and how it stacks up against the one film in this current wave that actually commits.

Venice promised gender parity in 2016. In 2026, exactly one of twenty competition films was directed by a woman, and it just won the Golden Lion. A look at "Woman Unknown," May el-Toukhy's post-WWII drama, plus the rest of this year's Venice winners.

Venice spent this week insisting it isn't political, right after briefly canceling its own jury press conference and putting a Gaza documentary from the No Other Land team in competition for the Golden Lion. Here's what actually happened, and why the festival can't have it both ways.