Indian director Anshul Chauhan’s fourth Japanese film, Tiger, crosses as many borders as you’d expect.

It’s not legendarily MIA like Sons of the Neon Night, but Vital Signs has been a long time coming.

César Augusto Acevedo contemplates the legacy of war and its impact on humanity in Horizon.

Chihiro Amano’s Sato and Sato is absolutely not a workplace drama about a law firm.

Sakura Ando rules.

Tetsuya Nakashima is finally back behind the camera. The Brightest Sun was worth the wait.

Let’s turn our attention to the good, the bad, and the baffling in Hong Kong cinema in 2024.

Juan Pablo Di Pace and Andrés Pepe Estrada might be the Spielberg and Lucas of South America. Without spaceships.

Tetsuya Chihara proves the spiritual link between design and filmmaking in Ice Cream Fever.

Taiwanese director Leading Li goes back in time for his LGBTQ genre mash-up, The Time of Huan Nan.

Austrian filmmakers Veronika Franz and Severin Fiala want you to be uncomfortable.

Director Francis Galluppi proves that yes, you can play in someone else’s sandbox in The Last Stop in Yuma County.

Key an eye open for Indera, possibly your last chance to see Woo Ming-jin do horror.

Hundreds of Beavers writer-star Ryland Tews proves you don’t need an epic budget to make an epic film.

Sho Miyake is following in the footsteps of Ozu and making us embrace the little moments in life.

Zar Amir Ebrahimi is still taking the Iranian state to task, this time in a classic sports drama, Tatami.

Shiori Ito isn’t afraid of powerful men. Black Box Diaries proves that.

Tsai Ming-liang still has Lee Kang-sheng walking, this time in Washington DC for Abiding Nowhere.

Hong Kong director Ray Yeung probes the legality and morality of same-sex partner inheritance rigths in All Shall Be Well.

Indian director Onir is tired. Tired of telling SWM how to behave, but Pine Cone proves he’s not tired of romance.