Extramarital affairs don’t get any more enigmatic and impenetrable than Resnais’ hypnotic Venice Golden Lion-winning anti-romance that boldly discards structure and narrative, leaving only unreliable memories and narrators.
Surya’s debut is a charming and unexpectedly gleeful take on the freedom and limits of telling stories, built around a rich if lonely young woman who has a way with violence and deceit.
Rather unfocused and indulgent in its depiction of vices, this 24th instalment (featuring Shintaro Katsu in a rare outing as director) is also one of the franchise’s grittiest entries.
A brave broadcast journalist warns of widespread nationalistic propaganda on television news in this powerful indictment of the sorry state of media and hate politics in India.
One of Ozu’s most accomplished silent efforts, this love story of jealousy and guilt set in the milieu of a small-time crook displays a mastery of visual storytelling.
Cote makes the monotony of industrial labour poetic and hypnotic in this decent documentary exploration of what ‘work’ and ‘working’ means to the blue-collar fraternity.
Soderbergh flaunts his technical ability in this rather mainstream endeavor, but style over substance makes the film far from the best of its genre.
A man falls in love with the portrait of a lady but refuses to be romantically involved with the real person in this incredibly gorgeous Turkish film, though it does rely too much on repetition and fatalism to work.
It does make some attempt in drawing out a poignant story about grief and loss, with Letitia Wright particularly impressive, but this sequel doesn’t quite scale the heights of the first movie’s creative spirit, or share its tautness.
A promising and polished debut feature, this Singapore-Korean co-production has earnestness in abundance even if the storytelling doesn’t quite offer anything markedly revelatory.
Eternality Tan 