Sound as time, memory, life and death, the latest sensorial slow cinema entry from the Thai auteur starring a restrained Tilda Swinton is beautiful, hypnotic, and a much-needed sedative for our discomforting times.
Adam Driver is sensational in this unorthodox if tonally-uneven musical about the perils of celebrity culture that oscillates between feeling inspired and overdrawn.
One of the most notorious films in the history of cinema—its explicit, unsimulated depiction of sex hides a troubling exploration of social alienation.
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.
