MOVIE
Fjord – first-look review | Little White Lies
- By West virginia digital
- . May 18, 2026
You could imagine the high priest of bureaucratic cynicism himself, Franz Kafka, watching this film about a Christian-Conservative couple being passed
Sheep in the Box – first-look review
- By West virginia digital
- . May 18, 2026
The “not too distant future” of Hirokazu Kore-eda’s Sheep in the Box closely resembles our present, with a few notable advancements. Delivery drones
Parallel Tales – first-look review
- By West virginia digital
- . May 18, 2026
Featuring an ensemble cast of French heavyweights, Parallel Tales is Iranian auteur Asghar Farhadi’s fifth time selected in competition and
The Beloved – first-look review
- By West virginia digital
- . May 18, 2026
Like its leading male character, The Beloved is a mercurial and frustrating beast. At times, it is an absorbing exploration of
Once Upon A Time In Harlem – first-look review
- By West virginia digital
- . May 18, 2026
William Greaves shot Symbiopsychotaxiplasm: Take One, probably his best-known film, in Central Park, where he had a rotating cast act out a melodramatic
Garance – first-look review | Little White Lies
- By West virginia digital
- . May 18, 2026
If you are creatively inclined in any capacity, chances are you have met a struggling actor somewhere along your path. Not
La Perra – first-look review
- By West virginia digital
- . May 18, 2026
When it comes to dogs in movies, cinema has developed its own series of informal rules with regard to what
Clarissa – first-look review | Little White Lies
- By West virginia digital
- . May 18, 2026
Clarissa (Sophie Okonado) seems on edge the morning of her party. She’s frustrated when her maid fetches the wrong plates
Full Phil – first-look review
- By West virginia digital
- . May 18, 2026
Many have previously said French auteur Quentin Dupieux is an acquired taste, and he has never taken that notion as
The lurid fascination of the school shooter film
- By West virginia digital
- . May 18, 2026
Other films instead approach the subject with more ambiguity, even perverse fascination. Films like Gus Van Sant’s Elephant (2003) insinuate near-universal teenage experience