40 Movies to Watch This Summer

      The summer season is here, and as we do every year, we’ve explored beyond the usual studio releases to provide an extensive overview of what you ought to look forward to. From last year's festival champions to selections straight from Cannes, as well as genre gems and some blockbuster spectacles, there’s plenty to be excited about.

      Take a look at our selections below and check back for monthly updates as the calendar is likely to grow. Release dates pertain to theatrical openings unless stated otherwise.

      Pavements (Alex Ross Perry; May 2)

      If the Hollywood superhero franchise is fading, the extended universe of Rolling Stone and Spin magazines is rapidly taking shape. What better way to define "pre-awareness" for studios than the data collected by Spotify’s algorithm, which shows billions of track plays confirming the lasting impact of beloved past music, while also revealing how, in the streaming age, you can monetize it? Unlike the still-great Walk Hard: The Dewey Cox Story, which critiqued the nostalgia that films like this evoke, recently reignited by Bohemian Rhapsody’s success, Alex Ross Perry’s Pavements, focused on the titular ’90s slacker icons, argues that every exceptional band merits a cinematic portrayal that evokes fond memories while allowing us to chuckle at youthful actors trying to capture the idiosyncrasies of seasoned, road-weary musicians. Good luck, Timothée. – David K. (full review)

      Vulcanizadora (Joel Potrykus; May 2)

      Like the punk-rock relative of Kelly Reichardt’s Old Joy, Joel Potrykus’ Vulcanizadora also tells a woodland journey that marks the moment an old friendship abruptly ends. This film showcases a maturation for the Michigan-based provocateur, revisiting characters first seen in his 2014 film Buzzard and various themes from his lesser-known 2016 film The Alchemist Cookbook. Like many artists transitioning from early to mid-career, Potrykus examines themes of family—or the act of abandoning it—while still retaining the edgy essence of his earlier works. It presents a certain paradox; while other indie filmmakers start modestly and build up, this filmmaker refreshingly hasn’t. (His 2018 masterpiece Relaxer occurred within the confines of an apartment instead of expanding his slacker universe). – John F. (full review)

      The Surfer (Lorcan Finnegan; May 2)

      In The Surfer, an exploitation film set for high tension, a mild-mannered man finds himself against a group that even Andrew Tate would consider extreme. Set in South Australia in the fictional Luna Bay—a locale where, if the heat doesn't get you, something else certainly will—the water is turquoise-blue but the beaches resemble scorched earth. An unnamed man (Nicolas Cage) arrives in this furnace hoping to view a cliffside property and catch a wave, but the locals have other plans: "Don't live here, don't surf here," one says, offering hospitality akin to a switchblade. – Rory O. (full review)

      Bonjour Tristesse (Durga Chew-Bose; May 2)

      Approaching Bonjour Tristesse, there was some apprehension. Positioned as another "adaptation" of Françoise Sagan’s work rather than a remake of Otto Preminger’s visual masterpiece, there remains concern over the audacity required to think one can surpass such a craftsman at the height of his capabilities. Directed by former writer Durga Chew-Bose with considerable formal skill (you certainly won't mistake this for something like Maximum Overdrive in that career-switch category), this 2024 version becomes a commendable effort that will resonate with many people who found the original lacking. A significant distinction is that Preminger crafted the film as a tribute to the muse with whom he was involved, Jean Seberg, imbuing an unsettling male gaze throughout the project. Chew-Bose’s rendition isn’t so much feminist as feminine—a navigation through neuroses that doesn’t offer straightforward answers. – Ethan V. (full review)

      A Desert (Joshua Erkman; May 2)

      A neo-noir mystery brimming with atmosphere, Joshua Erkman’s debut feature A Desert follows a photographer searching for inspiration during a trip in the arid American southwest. When he encounters a couple that immediately reek of trouble, he becomes enmeshed in a sinister plot. While the screenplay by Erkman and Bossi Baker may leave something to be desired (its influences are strongly felt), the film's unsettling atmosphere of impending dread is impressive, culminating in a fitting descent into depravity. – Jordan R.

      Caught by the Tides (Jia Zhangke; May 9)

      Jia Zhangke’s cinema often evokes a sense of déjà vu: “We’re once again in the