Projector Pod fave, the director Paul Thomas Anderson, returns to the cinema screen with his Pynchonesque epic of collapsing revolutionaries, One Battle After Another. With a plot too twisty to explain, characters too real and surreal to describe, and a tone that resists simple labels, it is remarkable that this film works so well. Yet, it also makes sense that it feels like just the right movie for the moment. 

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This time, we talk about Danny Boyle's return to the zombie movie world in 28 Years Later. The film is a super rich and endlessly interesting expansion of the themes Boyles put together in his original 28 Days Later form 2002. But now, as the world has changed (not least in the films' UK setting), 28 Years Later is that rare thing: a zombie movie that has us asking endless questions about society, life and the meaning of it all.

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This time on Projector Pod, we are talking about arthouse director Kelly Reichardt's latest film, The Mastermind. A 1970s period piece about an unemployed father's attempt to pull off an audacious and strangely specific art heist at the local gallery. It is a richly textured, slow, almost slapstick character study set against the backdrop of the Vietnam War and fading dreams of the counterculture about the dangers of being the main character when you're not quite up to the task.

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Ari Aster returns to our screens with a black slapstick comedy about the insanity and trauma of the COVID-19 lockdowns, with Eddington. Joaquin Phoenix stars as a down-on-his-luck small-town sheriff who is so disgruntled by the lockdowns that he decides to challenge the town's mayor for office. But what has been bubbling underneth for the sheriff is being brought to the surface by the weird world of social distancing and screens. Ebba and Macon talk about how Aster's movie about trauma a political division has a lot of serious stuff to say about our digital dystopia.

Wes Anderson returns to the silver screen with what some are controversially calling his most emotional film to date, The Phoenician Scheme. But what to make of this mid-century fetishising, reindeer lichen coloured, slapstick violence laden, god bothering caper? Is there more to this film than the zany characters and perfect framing?

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Luca Guadagnino returns to the cinema following the roaring success of Challengers with an adaptation of William Burroughs' auto-fictional experimental novel of love in the age of intensely felt internalised homophobia, Queer. Beyond the film continuing the trend for gorgeously dirty white linen suits on film, Queer is a masterful, impressionistic exploration of living in bodies and with desires that are tangled up with socially shaped self-loathing and the loneliness that follows from fear. There is so much to unfold!

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Director Bong Joon Ho returns to Anglophone cinema with the satirical sci-fi Black comedy Mickey 17. Robert Pattinson stars as Mickey, a down-on-his-luck earthling who tries to escape his trouble by signing up for a space voyage as an "expendable", i.e., a person who can die over and over again because they have his data on file. So, what does this tonally peculiar film have to say about the world we live in today?

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This time, we are joined by festival veteran and writer for the Radical Art Review, Alex Elder, to talk about some of the films on offer from CPH DOX 2025, including Flophouse America, Portrait of a Confused Father, Fantastic Family, Another World, About a Hero, Rave, and Zodiac Killer Project. Most of the films we talk about are available on the festival's platform Paradox, while Another World will be available on the rest of the internet. 

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Director Brady Corbet has made an epic about architecture, artistry, money and power called The Brutalist, and we have some "thoughts" about it along with Ayn Rand, pretentiousness and the white elephant/termite theory of filmmaking. 

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10 years after changing the world of documentary cinema with "The Act of Killing" and "The Look of Silence", director Joshua Oppenheimer returns to our screens with a post-apocalyptic musical. "The End" is a film about the lies we tell ourselves, the destruction these cause, and the love and hope that such lies deny us. 

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