A con-man who pretends to be an all-powerful spiritual guru is at the centre of Ray’s modest if stinging social commentary on the naivety of succumbing to blind faith.
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A con-man who pretends to be an all-powerful spiritual guru is at the centre of Ray’s modest if stinging social commentary on the naivety of succumbing to blind faith.
Powerful, poetic and sublime, this could be Pasolini’s magnum opus and arguably the greatest film about the life of Jesus Christ.
One of the most significant works of Georgian cinema, this anti-totalitarian film previously banned by the Soviets deals with its serious themes through a potent mix of acute symbolism and surrealist absurdity.
Scorsese’s entertaining Bob Dylan documentary doesn’t really go very deep but it is an indelible time capsule as it tracks the legendary artiste’s defining 1975 tour across America.
Joan of Arc’s childhood is given a treatment that only Dumont could dream up—a period musical backed by heavy metal/rock music that is as madly fervent as it is wearisome.
Chan does his stunts and comedy with aplomb, but this sequel is let down by a wafer-thin plot and poor pacing.
A depressing, slow-burning gay drama that only Fassbinder (also fantastic in the lead role) could have conceived—full of pathos and rich in its depiction of the milieu of a class-divided queer community.
A terrific Zatoichi flick and one of the series’ very best, Misumi’s focus on story and characterisation is the real sleight-of-hand here in this slower but well-paced movie.
The continuation of one of popular cinema’s enduring franchises is also one of Steven Spielberg’s rare misfires.
A woman at wits’ end desperate for a job—and her hungry dog—are the subject of Reichardt’s depressing slice of working-class Americana, starring Michelle Williams in top form.