Joshua D’Souza, SJ

Monster is an absolute triumph of delicate storytelling. Scripted by the celebrated Japanese TV writer Yuji Sakamoto, the film took home the prestigious Best Screenplay award at the Cannes Film Festival.

If the “Word became flesh” so that God could die for His friends, then Grace’s evolution into a man willing to stay in the dark so another might have light is the ultimate imitative act.

There are films that entertain, and then there are films that burn their way into your conscience. The Lost Bus does both.

The Long Walk forces us to ask: In a world that demands we walk alone, crush our competitors, and numb our hearts to survive, what is the true cost of winning? And what is the redemptive value of choosing to walk together, even if it slows us down?

Set in 1977 Brazil during a tense military dictatorship, The Secret Agent follows Marcelo, a quiet and thoughtful man who arrives in the coastal city of Recife in a bright yellow Volkswagen Beetle. He seems ordinary at first, just another traveller stopping at a dusty gas station, but something about him feels hidden. Slowly we realise that Marcelo is living under another identity. A former researcher and widower, he is a man pursued by danger, haunted by memories, and quietly searching for something lost, perhaps truth, perhaps family, perhaps himself.

Left-Handed Girl drifts in with the kind of softness that sneaks up on you. It follows Shu-Fen, a young mother trying to stitch together a new life in Taipei with her two daughters.

In our own lives, are we playing the part of Victor, creating things, relationships, or even versions of ourselves, only to abandon them when they don’t meet our perfect, prideful expectations?

Set in the winter of 1970, The Holdovers follows three unlikely companions stranded at a quiet New England boarding school during Christmas break: a grumpy history teacher, a sharp-tongued student with nowhere to go, and a grieving cook

I’m Still Here is not simply a film about dictatorship or loss. It is about a strength that cannot be silenced. It is about a woman who shows us that joy can be an act of protest, love a form of resistance, and hope the deepest expression of faith.

F1: The Movie doesn’t break new narrative ground, but it executes a classic story with heart-pounding excellence. It’s a film that understands spectacle but isn’t afraid of quiet, reflective moments.