As China urbanises, a man stagnates in this masterful and revelatory feature debut by Jia Zhangke, shot in 16mm and featuring non-professional actors.
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As China urbanises, a man stagnates in this masterful and revelatory feature debut by Jia Zhangke, shot in 16mm and featuring non-professional actors.
A disappointing effort by Korean auteur Park Chan-wook – an unfortunate case of too much style and too little substance.
An outrageous stunner, Park’s ‘vampire’ movie exploring the sin of desire and the limits of religious faith is a genre-bending and unsettlingly beautiful work.
Still one of the finest achievements of contemporary Korean cinema, Park Chan-wook’s psychologically complex and violent revenge mystery will consume you whole.
Straightforward but effective feature debut that depicts the perils of social media virality in a post-truth world, through the eyes of a young boy suffering from an immeasurable injustice.
An early horror B-movie by Coppola, produced by Roger Corman, with effective mood-setting but an undercooked story.
With wall-to-wall ethnic music and a highly-theatrical style, Parajanov’s last completed feature may be the most accessible of his most well-known folkloric works, best described as an experimental Fellini on steroids.
Told in numerous short vignettes, Parajanov’s late Georgian film retains the exotic, cultural elements that define his work, but occasionally struggles to find a balance between experimentation and storytelling.
Satoshi Kon’s firm grasp of tragicomedy is evident in this expertly-constructed tale of three homeless persons who find a newborn baby in the trash on Christmas Eve.
Banned for a short while in France, Godard’s second feature boldly and stylistically depicts the moral complexities of the Algerian war, throwing audiences at the time an early political curveball.