TRIBECA: seven festival favorites
Films by day, Finals by night: a first-time Tribeca attendee on the seven movies worth talking about.
THAT FRIEND: RUNNING OUT THE CLOCK
Harvey Guillén carries this drug-fueled buddy comedy somewhere worth going, even when the road there feels well-traveled.
Labrador: Autopsy of Silence
Rodrigue Jean's cargo-ship murder mystery refuses to behave like one, folding grief and colonial silence into a film that rewards patience more than it courts it.
COTTON FEVER: A Crisis With a Human Face
Daniel Blake Schwartz's debut feature is the rare addiction drama that earns its anguish, and its grace.
The Last Day Keeps Its Best Story Waiting
Rachel Rose reroutes Virginia Woolf through the long shadow of new motherhood for a debut of startling composure, carried by the best work Alicia Vikander has done in years, even as it keeps its second woman waiting for a film that never quite arrives.
Mutter Cradles a Monster
Hazar Ergüçlü gives one of the festival's most committed performances in Alphan Eşeli's maternal horror, a film that asks whether a mother's love can outlast the knowledge that what she has birthed is monstrous, and answers with a tenderness that wrecked me.
Happy Hours, Part 1
Katie Holmes reunites with her Dawson's Creek co-star for a New York two-hander that mistakes a famous template for a finished design, and leans on Joshua Jackson to carry what its director cannot.
Breeder Earns Its Pedigree
Dot-Marie Jones is a gleeful menace in Alex Goyette's nasty little horror-comedy about dog shows and human eugenics, a film far funnier, and far more uncomfortable, than it has any business being.
Iconoclast Announces a Filmmaker
Gabriel Basso writes, directs, and stars in a confident, deeply unsettling study of online isolation that wobbles in places but marks him as a talent I want to keep watching.
the leader will see you now
Michael Gallagher's Heaven's Gate drama is the last thing I expected a cult movie to be: a riot.
The Long Haul Belongs to Margo Martindale
Margo Martindale has spent a career stealing scenes from the leads. David Drake's debut feature finally hands her the wheel, and she drives off with one of the most affecting performances of the year.
The Revisionist Keeps Revising
Dustin Hoffman gives a sharp, vulnerable performance, but a restless structure and a hazy reality keep the film from the version of itself that works best.
A STAR, FULLY FORMED
In Next Life, Emilia Clarke carries Drake Doremus's most affecting film in years and proves she belongs among the great romantic leads.
TRIBECA 2026 PREVIEW
Our Most Anticipated Films of the 2026 Tribeca Festival