My personal favourite of all of Hitchcock’s works, this intelligent and suspenseful treatment on scopophilia and scopophobia in relation to gender, gaze theory and paranoia is also one of his finest achievements.
A quiet, deliberately-paced Iranian drama about one man’s moral stand against a corrupt environment.
A minor work from Hong, though this time he shifts his primary focus to women-centered conversations which act as a collective bubble that shields them from the annoying intrusions of men.
P.T. Anderson’s mesmerising hour-long shot-in-India documentary about the coming together of musicians to record an album is a musical dream transcending its raw, no-frills production.
A strong feature debut about postgraduation aimlessness that milks hilarity through an array of self-analytical characters who are far too absorbed in their own ennui to really think for themselves, but Baumbach’s clever script does all the hard work for them.
Chabrol’s firm Hitchcockian grasp on the crime-mystery belies his even more remarkable work with his characters and narrative, making this one of the great works of his late career.
Marking Eastwood’s late-career resurgence as a noteworthy filmmaker is this powerful drama about choices and consequences, backed by a solid ensemble cast that includes Oscar-winning performances by Sean Penn and Tim Robbins.
Schanelec’s film here works like an outdoorsy chamber piece, based on Chekhov’s “The Seagull”, and shot with the kind of abstract and fluid ambiguity that has characterised most of her fascinating output.
This tenth instalment goes into darker territory with forced prostitution as one of its themes, but Zatoichi is in a serious mood to right wrongs with several well-choreographed fight scenes in store.
Despite being overly melodramatic and feeling somewhat dated, a woman’s stand against the patriarchal order is brought to life in Ketan Mehta’s rousing tale.
Eternality Tan 