Editor-in-chief Goh Cheng Hao reflects on Natalie Sin’s The 4PLY Clandestine System, premiering at the 36th Singapore International Film Festival (SGIFF), amid our culture of the viral online persona, representation, and tissue paper.

Staff Writer Mohamed Shafiullah reconsiders the elements that made Oz Perkins’ Longlegs (2024) such an effective thriller while anticipating his new film Keeper (2025).

Staff Writer Kyle Ashley Pillai tracks the cycles, cynicism, and beauty of decay in his review of Yorgos Lanthimos’ latest work.

Editor-in-Chief Venesya Mayvelie Kosasi reviews the second block of this year’s Transfiguration International Film Festival and recounts how the selection of films explore history and memory in fragments that ultimately foreground the personal narratives of the marginalised.

President Rhea Chalak reviews Kiwi gothic horror film Mārama (2025), which surrounds the journey of a young Māori woman fighting to reclaim her identity in 19th-century England.

Staff Writer Agastya Polapragada ruminates on what makes La Haine such a beloved classic in the cinematic world following NTU Film Society’s screening of the film earlier this semester.

Staff Writer Angelica Ng reviews the revolutionary epic Farewell My Concubine (1993), examining the beauty of theatre in the face of tragedy, tradition and love during a tumultuous period—brought to life by Leslie Cheung’s luminous performance.

Leading up to the Singapore premiere of the 4K Restoration of Kiyoshi Kurosawa’s Pulse (2001), staff writer Adrian Ho exorcises the concerns of the director’s preternatural filmography: the malaise of loneliness, and the banality of violence at the heart of modern technology.

Off its new IMAX rerelease, staff writer Angelica Ng relishes in the lush musicality and visuality of Hayao Miyazaki’s Princess Mononoke (1997), revisiting its timeless ecological message.

Guest Writer Tan Yan An shares his thoughts on the country’s first independently funded sci-fi feature, We Can Save The World!!! – a film that is bold, inventive, and full of heart.

Staff Writer Kuo Yi Quan goes behind the scenes of Saltburn (2023), a twisted black comedy thriller which gained immense controversy in many social media circles.

Editor-in-Chief Hannah Jade’s unserious review of the equally unserious film, Final Destination: Bloodlines (2025), the final installation of the beloved millennial series which features no apparent killer or supernatural apparition.

Staff Writer Angelica Ng discovers the cinematic nostalgia behind Gia Coppola’s 2024 film The Last Showgirl (2024).

Staff Writer Kuo Yi Quan reviews The Solitary Gourmet (2024), the latest addition to the beloved Japanese culinary series.

Guest writer Henrique Bravo reviews the Glen Powell-starrer Hit Man (2023), and explores how it is more than just a rom-com, but also a giant lecture on the philosophy of life.

Staff Writer Ezekiel Sen reviews Osgood Perkins’ latest film, The Monkey (2025), starring Theo James, Oz Perkins, and Elijah Wood.

If I had to describe Babygirl (2024) in one sentence, I’d say it’s a movie about people telling each other to sit down.

Staff Writer Jeff Chay reviews A Different Man (2024), a hauntingly absurd exploration of identity via a Kafkaesque metamorphosis.

Content Creator Dexter Lok finds joy in Joyland (2022), Saim Sadiq’s debut film which was screened at last semester’s Queer Week!

Editor-in-Chief Hannah Jade reflects on 3 films that were integral to her year.