An essential early work of Jarmusch, this is a cinematic hymn to Memphis city’s rich musical history, filmed as a connecting triptych of oddball characters of various nationalities over the course of one day and night in this ‘ghost town’.
An interesting mess of ideas, genres and styles, Spike Lee’s lengthy new joint is effective when it is polemical, but the main message about how we could draw urgent relevancy from the contemporary Black Lives Matter movement in relation to the painful lessons of the Vietnam War gets muddled in the film’s excesses.
A recovering drug addict leaves his rehabilitation centre for a day to visit his acquaintances in this restrained, melancholic if also warmly empathetic second feature by Joachim Trier.
An unconventional mystery-drama about the burden of personal guilt as Wang Xiaoshuai riskily pursues narrative fragmentation that ultimately rewards with a strong finale.
A young woman-turned-actress forced into the Bollywood entertainment industry tries to escape loneliness through a myriad of love affairs in this melancholic tale starring the great Smita Patil.
This 8th instalment is one of the series’ best—and different too—with director Kenji Misumi fashioning a slower-paced tale about Zatoichi’s longing for fatherhood.
An excellent lead performance by a child aside, this is too postcard picture-perfect and poorly-paced a film about the torrid experiences of surviving the Khmer Rouge regime to be considered essential viewing.
Fincher’s now-classic ‘90s take on the grisly investigative crime movie is engrossing, well-made, and may well chill you to the bone.
Resnais blurs the lines between theatre and cinema in this mature treatise on the ‘love triangle’, marked by a trio of outstanding performances.
Not top-tier Almodovar, but he fashions an unsettling, and at times, outlandish treatment on both psychological and gender identities.
