• Comets

    Comets

    An elliptical tale of love and memory, this beautiful debut from Tamar Shavgulidze captures the pangs of a lost Eden in long, contemplative takes. Delicately shot in the pastel hues of a languid Georgian summer, Comets is a tender, cosmically-charged ode to the hesitant blush of young romance.

    Now showing here.

  • Nowhere to Hide

    Nowhere to Hide

    In the late 1990s, an adrenalized wave of South Korean genre cinema exploded onto western screens. This manhunt procedural from Lee Myung-se was among the most stylistically inventive, an eye-popping thriller that marries film noir to Hong Kong action for a woozy fever dream of unadulterated pulp.

    Now showing here.

  • Belle

    Belle

    A dazzling animated spectacular and J-Pop musical of extraordinary ambition and imagination.

    This week, get a free ticket to see Belle in New York theaters, included with a MUBI subscription.

    Get started here.

  • Luzzu

    Luzzu

    Bathed in blues and yellows—the colors of Maltese fishing boats—Alex Camilleri’s searingly authentic debut on a vanishing trade embraces a cast of nonactors and real-life fishermen. Travailing the riptides of globalization, this neorealist drama is a moving ode to the resilience of the human spirit.

    Now showing here.

  • Serie Noire

    Serie Noire

    In a mercurial performance of cyclonic exasperation, Patrick Dewaere barrels through the wintry suburbs of Paris as a self-made patsy in a murderous muddle. A desolately funny, Dostoyevskian thriller from Alain Corneau, Série noire plots a fatalistic course into the depths of crime and punishment.

    Now showing here.

  • The Cool Lakes of Death

    The Cool Lakes of Death

    Charting a 19th-century woman’s descent into madness, The Cool Lakes of Death is Nouchka van Brakel’s masterwork. Ravishingly textured, and with a cyclonic performance from Renée Soutendijk, this shattering psychological portrait is an expansive tale of sexual awakening and patriarchal oppression.

    Now showing here.

  • A Woman Like Eve

    A Woman Like Eve

    A huge hit in its native Netherlands, Nouchka van Brakel’s second feature is her most explicitly feminist work. Starring the brilliant Monique van de Ven (Turkish Delight) as a woman who leaves her family for her female lover, A Woman Like Eve is a deeply compassionate tale of personal emancipation.

    Now showing here.

  • The Debut

    The Debut

    A bold and provocative tale of taboo romance, this feminist recalibration of Lolita was the first Dutch feature film to be directed by a woman. Granting remarkable agency to its 14-year-old protagonist, Nouchka van Brakel’s The Debut is a profoundly empathetic examination of unethical desire.

    Now showing here.

  • What Do We See When We Look at the Sky?

    What Do We See When We Look at the Sky?

    An enchanting love story suffused with magic, this amiably ambling fable is fit-to-burst with hope and wonder. Alexandre Koberidze’s generous ode to romance wanders the sun-dappled streets of Georgia’s ancient Kutaisi with open arms, inviting its inhabitants—and their mysteries—into a warm embrace.

    Now showing here.

  • Let the Summer Never Come Again

    Let the Summer Never Come Again

    At once a ravishing city symphony and a love story for the ages, Alexandre Koberidze’s debut feature swoons through the streets of Tbilisi in an amorous haze of digital impressionism. Shot on a low-res cellphone, this beguiling poetic collage is a sensual exploration of memory, heartache, and war.

    Now showing here.

  • Bye Bye Africa

    Bye Bye Africa

    Blurring the lines between documentary and fiction, this debut feature from Mahamat-Saleh Haroun examines the decline of the film industry and its movie palaces in his native Chad. A reflexive work of auto-critique, Bye Bye Africa is an acute study in African identity and the question of home.

    Now showing here.

  • Jean-Pierre's Mouth

    Jean-Pierre's Mouth

    Stylishly shot by Gaspar Noé in sickly shades of yellow and green, Lucile Hadzihalilovic’s bracing debut frankly deals with the taboo subject of child abuse. Eluding cheap sensationalism, this uneasy yet poignant mid-length feature resounds with empathy for the lost children of an apathetic world.

    Now showing here.