This heartfelt, partially-animated documentary centering on a Japanese man who lost his wife in the 2011 tsunami doesn’t have any pretensions and works because of its sincerity.
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This heartfelt, partially-animated documentary centering on a Japanese man who lost his wife in the 2011 tsunami doesn’t have any pretensions and works because of its sincerity.
Perverse, disturbing and chilling, but also essential, Pasolini’s controversial final film evokes both disgust and fascination in equal measure.
Pasolini asks the Italian public very bold and awkward questions about sex—and all of its political, social, economic and cultural implications—in this superb and highly-entertaining documentary survey.
Tales of lust and love are intertwined with Pasolini’s astonishing location shooting in this weird concoction of a film that runs a bit too long.
Slow cinema as an anti-police procedural, Dumont’s fascinating if unclassifiable work features a hypnotic Emmanuel Schotte (in his only film role), whose face must be one of the most arresting in all of cinema.
Chytilova’s strong, effortless feature debut blurs the lines between fiction and documentary, featuring two women—a restless housewife in an extramarital affair and Eva Bosakova, one of Czechoslovakia’s most famous Olympic gymnasts.
The story-within-a-story treatise might feel undercooked but Welles still does a lot within its short runtime, particularly creating the film’s dreamy, intoxicating atmosphere, accompanied by the ethereal music of Erik Satie.
Polished and generally solid, this Cold War movie would rank as one of Spielberg’s good-but-not-great pictures.
Another commanding performance by Daniel Day-Lewis lifts this uncharacteristically slow-paced and talky Spielberg film from being too self-absorbed in its historical importance.
More of a compilation of past concert performances (albeit in stunning audiovisual quality) than a documentary of new insight and depth, this will please and frustrate fans in equal measure.