Guest Writer Gwendolyn Chan recalls her experience watching Sandbox (2025) and examines how the mockumentary manages to infuse even its more light-hearted moments with sentiment, to weave a narrative that ultimately forces the audience to confront a very prevalent question haunting Singaporean society: Why is it still so difficult to pursue and sustain all forms of Art in Singapore?

Guest Writer Priyanka Arora reviews The Fable (2024).

Guest Writer Khushi Pai navigates a refreshing intimacy in Don’t You Let Me Go (2024).

In the monochrome heart of Hanoi, a bereaved woman redefines home, family, and enduring bonds in a poignant exploration of identity and belonging. Staff Writer Tan Yan An reflects on the critical Cu Li Never Cries.

The Killers (2024) attempts an anthology of genre-whirling stories, but ultimately disappoints in its lack of maximising its potential, President Daryl Cheong writes. 

Making room in the psychiatric facility — Staff Writer Mohamed Shafiullah reviews Nicolas Philibert’s documentary, At Averroes and Rosa Parks (2024).

Antidote (2024) celebrates ordinary individuals coming together to expose Vladimir Putin and his regime, but excessively over-dramatises to get its point across, President Daryl Cheong writes.