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High On Films
How the Noir Detective Changed Through the 20th Century: The Erosion of Masculine Control in Film Noir
Column

How the Noir Detective Changed Through the 20th Century: The Erosion of Masculine Control in Film Noir

Ben Brewster February 16, 2026

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Agnibaan (2026) Movie Review: An Action Film that Gets Pulled in Too Many Directions 
Review

Agnibaan (2026) Movie Review: An Action Film that Gets Pulled in Too Many Directions 

Kalpa Jyoti Bhuyan February 16, 2026

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Before You Were My Mother (2022) Documentary Review: A Gentle and Emotional Portrait of Motherhood, Memory, and What Remains Unsaid
Review

Before You Were My Mother (2022) Documentary Review: A Gentle and Emotional Portrait of Motherhood, Memory, and What Remains Unsaid

Monish Upadhyay February 16, 2026

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From Tbilisi to Seoul: Why Korean Cinema Feels Familiar to a Georgian Filmmaker 
Column

From Tbilisi to Seoul: Why Korean Cinema Feels Familiar to a Georgian Filmmaker 

Medea Tchelidze February 16, 2026

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The Arab (2026) ‘IFFR’ Movie Review: Reclaiming Historical Visibility Through Colonial Discourse
Featured · Film Festivals · Review · Rotterdam

The Arab (2026) ‘IFFR’ Movie Review: Reclaiming Historical Visibility Through Colonial Discourse

Rino Lu February 16, 2026

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  • Film Festivals
    • Cannes
    • Berlinale
    • BFI London Film Festival
    • Fantasia
    • IFFI
    • Locarno
    • DIFF
    • MAMI
    • NYAFF
    • Sundance
    • Sydney Film Festival
    • TIFF
  • Reviews
    • In Theaters
  • Lists
  • Essays
    • Column
    • Interviews
  • Explainers
    • Streaming Now
  • News
  • Write For Us
  • HOF Games
    • High on Films Weekly Jigsaw
    • High on Films Weekly Crossword