Stay Through the Credits

Paolo Strippoli's "The Spiral" gives us Valeria Bruni Tedeschi as an impeccably dressed devil striking a horrifying bargain with a desperate mother, played by Jasmine Trinca. We talk through the film's stylish, campy horror energy, why it can't quite match the depth of Strippoli's previous film "The Holy Boy," and whether its flashy execution is enough to make up for a script that spirals inward instead of out.

Hirokazu Koreeda adapts Tatsuki Fujimoto's beloved manga "Look Back" into a tender live-action story about two young artists whose friendship and creative partnership shape, and eventually shatter, their lives. We talk through the film's gorgeous visual language, its uncanny young cast, and where its expanded runtime occasionally stretches the delicate source material too thin.

Gael García Bernal writes, directs, and stars in "Hombre Al Agua," a meta-fictional drama about a passive lifeguard-turned-heir who becomes raw material for everyone else's story but his own. We talk through the film's clever structural ambitions, its pointed commentary on Latino identity in entertainment, and why its deliberately blank protagonist ends up holding the film back.

Alicia Vikander and Luca Marinelli star in Andrea Pallaoro's "The Echo Chamber," a single-location love story that leans hard on its stunning apartment setting but rarely gives its characters room to breathe outside their own relationship. We talk through the film's gorgeous cinematography, Susan Sarandon's scene-stealing turn, and why the more interesting story might have been the one the film barely tells.

Lee Chang-dong returns with "Possible Love," a rich, quietly devastating drama tracking two marriages on opposite sides of Korea's class divide. We talk through Jeon Do-yeon's layered performance, the film's loose ties to Kieślowski's "Dekalog 10," and why this might be the most emotionally precise film of the festival so far.

Kiefer Sutherland plays a vigilante priest gunning down '90s drug dealers in the bizarre, overstuffed "Father Joe." We talk through the film's dead-serious tone despite its ridiculous premise, its wildly random midpoint detour, and how it somehow still lands an oddly moving ending.

The Oasis reunion tour gets the documentary treatment in "Don't Look Back in Anger," but instead of raw sibling tension, we get something oddly polished and sentimental. We talk through the film's guarded interviews, its stronger-than-expected fan footage, and why it pulls its punches on a story that clearly had more edge to give.

Nanni Moretti's "It Will Happen Tonight" follows Louis Garrel and Jasmine Trinca as two would-be lovers who keep missing each other across the years. We talk through the film's dated romcom instincts, its jarring time jumps, one genuinely uncomfortable scene, and why this one may play better at home in Italy than anywhere else.

Robert Pattinson transforms into "To Catch a Predator" host Chris Hansen in Lance Oppenheim's grimy, claustrophobic "Primetime," alongside a stacked ensemble including Merritt Wever, Phoebe Bridgers, and Skyler Gisondo. We talk through Pattinson's uncanny performance, the film's discomforting visual style, and where its lack of broader context becomes its one real weakness.

Michael Dweck and Gregory Kershaw's "Burgundy" turns its lens on the vineyard owners, workers, sommeliers, and critics who've devoted their lives to French wine. We talk through the film's gorgeous, observational style, its playful detours, and the quiet class tensions simmering underneath all the beauty.