Even the endearing performances of Paul Mescal and Josh O’Connor, along with their undeniable chemistry, are not enough to rescue ‘The History of Sound’ from being a dull period drama. It is such a pity that it was wasted by a very boring execution.

Kelly Reichardt’s ‘The Mastermind’ is a quiet, subversive take on an art heist film that never feels tensionless, anchored by a stellar performance from Josh O’Connor.

‘Father Mother Sister Brother’ may not be a home run for Jarmusch’s return to feature films, but it still offers his own thoughtful take on estranged families from different parts of the world, even if it could have achieved more.

Firmly planted in the lives of three Mumbai nurses in the lower-income part of the city, ‘All We Imagine as Light’ gently claims its place as one of the century’s most romantic films asserting that third world romances are worthy of the big screen.

‘Lost Sabungeros’ suggests through interviews with insider whistleblowers that the criminal mastermind behind the violent disappearances within the e-sabong industry is the notorious gambling tycoon, Charlie “Atong” Ang.

‘Simon of the Mountain’ should be an interesting film, given that its subject is rarely explored, but it falters in its execution because what's in the frame is far less interesting than what's not.

‘The Room Next Door’ tries to look for a meaning and purpose, but this unexpectedly turns out to be a theatrical therapy session going in circles.

‘Anora’ is a tale of two halves: the first half, in typical Sean Baker fashion, explores Ani’s daily life with a dash of romance that often leans into male fantasy. The second shifts to a cat-and-mouse chase with the supporting characters.

‘The End’ wasn’t made to create sympathy for the ultra-rich anyway, but its direction is quite muddled and meaninglessly repetitive. It’s richly detached to a fault.

‘When Fall is Coming’ only finds itself to be treated with some care, ending up another vapid attempt in one of Ozon's many to demystify the stable French countryside.

‘All of Us Strangers’ is a hymn for the lonesome, a saving grace that comes knocking at your door in the middle of the night. It is very personal, modern, and queer, tackling the long and winding road of grief but focusing more on its first stage—denial.

With the use of various surreal imagery, the film effectively removes the idealized version of the empress the majority would have in their heads. It conditions the audience to see her for who she really is, an enigma, and possibly connect to her struggles not as a monarch, but as a human being.