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Cineuropa

Cineuropa is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Amarsanaa Battulga, Boyd van Hoeij, Elena Lazic, Grace Han, Kaleem Aftab, Laurence Boyce, Manuela Lazic, Olivia Popp, Savina Petkova, Teresa Vena, Vladan Petkovic.

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Rating Title | Year Author Quote
Kabul, Between Prayers (2025) Olivia Popp Amini uses the principle of "show, don’t tell" to maximum effect and with profound results.
Posted Jan 17, 2026  Edit critic review
The Currents (2025) Olivia Popp It is the director’s dedication to emphasising, in an unexpected way, how generational trauma manifests itself that ultimately emerges as The Currents’ strongest thematic throughline.
Posted Jan 17, 2026  Edit critic review
The Visitor (2025) Olivia Popp Katkus draws our attention to fleeting encounters and conversations that are often the first ones to be forgotten because of their seeming inconsequentiality, but these ultimately make up the bedrock of our sensorial memory.
Posted Jan 17, 2026  Edit critic review
Rain Fell on the Nothing New (2025) Olivia Popp Rain Fell on the Nothing New raises highly relevant, burning social questions and has the premise to support something larger, but the script never digs deep enough into David’s plight to fully satisfy.
Posted Jan 17, 2026  Edit critic review
Renovation (2025) Olivia Popp Renovation is a curious, delightful beast that, at times, borders on a dry-humoured dramedy driven by situational irony while at other times taking on the sentimental romantic themes of a work like The Worst Person in the World.
Posted Jan 17, 2026  Edit critic review
Acts of Love (2025) Olivia Popp Rønde’s work is led by a strong performance by Lassen, and the director cinematically blends past and present through scenes of ritual, with the community seemingly overtaken by the presences of those being "treated".
Posted Jan 17, 2026  Edit critic review
The Moelln Letters (2025) Olivia Popp If one thing is clear by the end of The Moelln Letters, it’s that bureaucratisation is not true remembrance – a condolence letter here, a memorial there; only real actions could serve as such.
Posted Jan 17, 2026  Edit critic review
The Good Sister (2025) Olivia Popp Miro Fischer succinctly shows how we have yet to understand how best to speak openly about incidents of trauma when they are inflicted by those close to us – we would rather remain tight-lipped than courageously confrontational.
Posted Jan 17, 2026  Edit critic review
Cicadas (2025) Olivia Popp In Weisse’s extraordinarily well-paced interrogation of socioeconomic class – not just conflict, but also the difficulties that arise while trying to find solidarity – one might expect the film to rise to a higher fever pitch before its end.
Posted Jan 17, 2026  Edit critic review
Deaf (2025) Olivia Popp The filmmaker meets the audience most effectively in the film’s stiller moments, where Ángela’s emotive state can be felt through the heaviness of Garlo’s expressions.
Posted Jan 17, 2026  Edit critic review
The Message (2025) Olivia Popp Moments dedicated to cats, dogs and even a solo capybara rightfully stir viewers’ own sensitivities.
Posted Jan 17, 2026  Edit critic review
Dreamers (2025) Olivia Popp It’s clear that Gharoro-Akpojotor admirably aims to create a sort of utopia-in-a-dystopia, as discovered through an impossible love, but neither the emancipatory potential of sapphic love nor the ramifications of the centre are thoroughly explored.
Posted Jan 17, 2026  Edit critic review
Blue Moon (2025) Olivia Popp The scenes between Elizabeth and Larry further make for a touching final few moments, marking a rewarding finale for the impressive "Great American Tragedy", if you will, of Lorenz Hart.
Posted Jan 17, 2026  Edit critic review
Gülizar (2024) Olivia Popp The filmmaker’s feature debut is a character study first and foremost, imbued with a powerful interrogation of gendered and politicised social roles.
Posted Jan 17, 2026  Edit critic review
Waterdrop (2024) Olivia Popp But the fact that the director chooses to tell this story through the eyes of a woman who herself participates in this violence owing to social conditioning before trying to extricate herself makes this a remarkably realist film.
Posted Jan 17, 2026  Edit critic review
The Return of the Projectionist (2024) Olivia Popp Guliyev and Aghazadeh use symmetry to their great advantage to capture curious schoolchildren in neat rows à la Abbas Kiarostami’s Where Is the Friend’s House?, making the film feel like an eternal tribute to the Iranian New Wave.
Posted Jan 17, 2026  Edit critic review
Ancestral Visions of the Future (2025) Olivia Popp The filmmaker is more interested in setting the scene and creating a mood and landscape, but never one that’s romanticised.
Posted Jan 17, 2026  Edit critic review
Once Upon a Time in a Forest (2024) Olivia Popp As alluded to in the film’s title, Suutari occasionally creeps into fairytale territory in the imagery of Lapland, but it feels warm and lush, never inauthentic or tacky.
Posted Jan 17, 2026  Edit critic review
The Exiles (2024) Olivia Popp Funes never overstretches the story to unbelievable places, instead leaving us to put the pieces together.
Posted Jan 17, 2026  Edit critic review
A Want in Her (2024) Olivia Popp It’s a remarkably realist work – and not innately a hopeful one – but glimpses of peaks must creep through.
Posted Jan 17, 2026  Edit critic review
Personale (2024) Olivia Popp Trocker leaves the outside world out of focus and instead keeps crisp the pastel-pink window-box flowers, the literal fruits of the staff’s hard work.
Posted Jan 17, 2026  Edit critic review
Writing Hawa (2024) Olivia Popp Its dually joyful and realist end titles snap the story into place: frankly, we are only privy to this piece of powerful filmmaking out of somewhat extraordinary circumstances.
Posted Jan 17, 2026  Edit critic review
The Southern Chronicles (2025) Olivia Popp The ways in which the well-meaning young man finds ways to entertain himself in a stereotypically drab environment, all while making the best of some tougher situations, grow to a fever pitch through the touching last scene.
Posted Jan 17, 2026  Edit critic review
Fanon (2024) Olivia Popp This is Barny’s truest success: maybe Frantz Fanon will finally have the chance to become a name known not only by scholars, activists, and those interested in Pan-Africanism and decolonial thinking.
Posted Jan 17, 2026  Edit critic review
Ma: Cry of Silence (2024) Olivia Popp The final shots of MA – Cry of Silence don’t tint the situation through rose-coloured glasses, but The Maw Naing suggests that the fight must, and will, still go on.
Posted Jan 17, 2026  Edit critic review
Brides (2025) Olivia Popp The non-linear narrative serves the story remarkably well, with Fall forcing us to reconsider our judgment at every turn with new information from the girls' lives in the UK.
Posted Jan 17, 2026  Edit critic review
Sauna (2025) Olivia Popp The movie still closes with a satisfyingly defiant spark of hope. It's up to the audience to decide whether it's misguided, a show of true love or both.
Posted Jan 17, 2026  Edit critic review
Morlaix (2024) Olivia Popp The filmmaker suggests that maybe there’s something about coming to this very town that has trapped us, for better or for worse, in a beautiful but tragic cycle of reminiscence and nostalgia.
Posted Jan 17, 2026  Edit critic review
Orenda (2025) Olivia Popp Orenda is designed to arouse something in the viewer around topics of forgiveness, faith, desire and guilt – and not necessarily provide a very specific journey.
Posted Jan 17, 2026  Edit critic review
My Uncle Jens (2025) Olivia Popp Where My Uncle Jens succeeds is in combining thriller elements (including a tense, ticking-based score by KASTEL) while disguising it all under the accessible umbrella of a light culture-clash film.
Posted Jan 17, 2026  Edit critic review
Satisfaction (2025) Olivia Popp The emphasis of Satisfaction at times feels too focused on finding a way to demonstrate showmanship over emotional appeal – rather than diving further into the powerful connection between Elena and Lola, for instance.
Posted Jan 17, 2026  Edit critic review
American Sweatshop (2025) Olivia Popp The screenplay bends to slightly absurd dialogue and character choices that feel half-baked: "What the fuck is wrong with you?" demands Daisy’s boss, brandishing a printout of a video of a woman jumping from a 20-storey building.
Posted Jan 17, 2026  Edit critic review
Aisha Can't Fly Away (2025) Olivia Popp Mostafa has made it clear that he can deliver a visually satisfying result – even at the expense of creative risk.
Posted Jan 17, 2026  Edit critic review
A Second Life (2025) Olivia Popp A Second Life carries a joyous spontaneity to its narrative, where characters must ride the wave of the unexpected.
Posted Jan 17, 2026  Edit critic review
Promise, I'll Be Fine (2024) Olivia Popp The film’s visuals are a joy to behold, although the intertwined narratives would have benefited from a touch more coherence.
Posted Jan 17, 2026  Edit critic review
Balearic (2025) Olivia Popp It’s neither an empirical reality or a spiritual daydream, it’s a secret – or sacred – third storytelling form.
Posted Jan 17, 2026  Edit critic review
Dry Leaf (2025) Olivia Popp Koberidze gently guides us into disrupting our need to reconcile the beautiful incompleteness of the world: feel, don’t overthink.
Posted Jan 17, 2026  Edit critic review
9-Month Contract (2025) Olivia Popp Vashagashvili gets at something fundamental: that a parent’s love for their child and a woman’s strength and determination are unimaginably strong – even in the most difficult of circumstances.
Posted Jan 17, 2026  Edit critic review
The Kidnapping of Arabella (2025) Olivia Popp it's hard to cling deeply to the characters’ journeys over the course of the story, despite Cavalli’s meaningful intentions.
Posted Jan 17, 2026  Edit critic review
Calle Málaga (2025) Olivia Popp If you wonder why your parents or grandparents are reluctant to leave their generational home, Calle Málaga will pat you on the back and gently explain why.
Posted Jan 17, 2026  Edit critic review
Bearcave (2025) Olivia Popp Broken into chapters and clocking in at over two hours, the film suffers from narrative meandering that is exacerbated by a lack of depth in the connection between its two central figures.
Posted Jan 17, 2026  Edit critic review
Laundry (2025) Olivia Popp Mkhwanazi’s greatest achievement is introducing and integrating historical context without the movie ever feeling expository
Posted Jan 17, 2026  Edit critic review
Franz (2025) Olivia Popp [Holland] repeatedly points to the fact that as much as we try to reach the truth of the man himself, all we can do is make frantic attempts to piece it together at best, or leave it to be financially capitalised on at worst.
Posted Jan 17, 2026  Edit critic review
The Captive (2025) Olivia Popp There is still something delightfully subversive about it all, even if it’s simply a metaphorical middle finger to so-called tradition.
Posted Jan 17, 2026  Edit critic review
Bad Apples (2025) Olivia Popp Accompanied by an omnipresent, thunderous and almost villainous soundtrack by Chris Roe, Bad Apples signals its pitch-black satire with gusto, with inserted shots of orchard apples sparkling artificially in the sun, rotting from the inside out.
Posted Jan 17, 2026  Edit critic review
Couture (2025) Olivia Popp While some of the film’s everyday conversations feel dry at times, Couture flies high in its most poetic moments, in which it acts as a conduit to the personal and the oneiric.
Posted Jan 17, 2026  Edit critic review
Obhut (2025) Olivia Popp Despite Hafner’s attempt to show some possibility for relief for individuals in Lukas’s situation, she ends up demonstrating the lack of a social support system for them to speak freely and receive care – the world is not that simple.
Posted Jan 17, 2026  Edit critic review
Left-Handed Girl (2025) Olivia Popp In Left-Handed Girl, the hard work of drama gives way to the rich reward of visuals: plainly put, it’s a joy to watch.
Posted Jan 17, 2026  Edit critic review
No Mercy (2025) Olivia Popp No Mercy becomes most interesting when Willinger uses the doc to reclaim time for the voices of these filmmakers, and to allow them to talk about their films and their personal stories on their turf, at their leisure.
Posted Nov 18, 2025  Edit critic review
3/4
The Tree of Knowledge (2025) Laurence Boyce There’s a boldness and playfulness here that ultimately make the film quietly compelling
Posted Sep 19, 2025  Edit critic review
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