Rohmer’s first feature might not have been as lauded as his counterparts’ more groundbreaking works, but its exploration of luck (or lack thereof) through one man’s misery was arguably the closest a French New Wave film had been to acknowledging its neorealist influences.
Kurosawa’s magnum opus is a glorious triumph and the standard-bearer for bravura epic filmmaking, still yet to be surpassed.
Good but not great, this handsomely-mounted biopic about a Welsh journalist’s news-breaking report on the Ukrainian famine of the early ‘30s under Stalin is a welcome introduction to a murky and disturbing part of 20th-century history.
Lust and personal resolve collide in Rohmer’s first feature in colour, lensed with warmth and sensuality by Days of Heaven’s Nestor Almendros.
This Cannes Palme d’Or winner is a masterful, humanistic attempt at capturing the issue of immigrants, through the perspective of a ‘family’ of Tamils at a transitory point in their lives.
Audiard’s direction of his actors is excellent, but the film is marred by his weak handling of tone.
An essential work of the Brazilian Cinema Novo movement, Rocha’s film may be difficult to get into at times, but its electrifying visual style and bold commitment to deconstructing politics and class remain revered.
The film that launched Japanese cinema into serious international reckoning, and quite simply one of Kurosawa’s very best.
A solid early work by Kurosawa in what is a clever cat-and-mouse chase that leads to an emotional climax.
Park’s breakthrough success feels like a cinematic page-turner, set in the context of an investigation on a shootout incident at the border separating North and South Korea.
Eternality Tan 