Rohmer plays an elaborate, frolicky game of relationship misunderstandings and coverups in his third ‘Comedies & Proverbs’ series, as most of the characters try to make sense—with sheer incompetence—what the meaning of love is.
Breezy, fun but also dark, Ozon’s non-linear gay romance doesn’t really cut deep, but mostly works because it knows how to have a good time.
Mizoguchi’s superb late career form continues with this masterful period drama about strict social norms and gender roles, with themes of adultery and romantic passion giving it thematic complexity.
A young woman becomes her married boss’ mistress to help her debt-ridden father in this ‘30s classic from Mizoguchi that would pave way thematically for his later films about ‘fallen women’.
There may not be much action, but this quite solid 12th instalment takes its time to give us well-developed characters in a narrative about strategic one-upmanship.
Contemporary Indian avant-garde cinema at its artistic peak, Amit Dutta’s unclassifiable portrait of a famous 18th-century Indian painter is an astonishing poetic and sensorial experience.
Shot over three years in the Middle East, Rosi’s beautiful and graceful documentary pits the human desire for normalcy against the unending cycles of death and destruction.
It frequently feels like a self-admiring work intoxicated with its own style and mood, but this chic arthouse vampire indie, shot in the Persian language, offers a taste of honey amid the spillage of blood.
Mizoguchi’s magnum opus is one of the all-time greatest films ever made – a haunting tale of greed, lust and morality that is steeped in Eastern sensuality and supernatural mythology.
Eternality Tan 