Arguably the Dardennes’ most important film with a searing performance by debutant Emilie Dequenne, though its nauseating vérité style takes getting used to.
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Arguably the Dardennes’ most important film with a searing performance by debutant Emilie Dequenne, though its nauseating vérité style takes getting used to.
Now regarded as the first ‘Dardennes’ feature, this is an assured realist work about moral quandaries set to the tune of a coming-of-age film.
Superb political mystery-thriller that is stimulating, and featuring magnetic performances from Jack Lemmon and Sissy Spacek.
An affirmation of values of love and compassion, this sentimental film banks on Tom Hanks’ genial performance as the famous Fred Rogers.
There’s something anachronistic about its visual style, but Mark Jenkin’s modern 16mm experiment about social tensions in an English fishing village largely impresses with its extraordinary use of nearly all manner of montage.
One of the most visually-stunning biopics ever made, this complexly-layered work about art, politics, memory and imagination is arguably Paul Schrader’s finest moment as a filmmaker.
As per tradition in March, I will give out imaginary awards to the films that I love most or hold in high regard for the preceding year.
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Pales in comparison to the first movie, Woo’s sequel (which suffered tremendously in post-production) has excellent action but a poorly-constructed story.
Provocative in an important way, this cautionary if hilariously satirical documentary emphasises the need to be open to understanding minority groups in pluralistic, secular countries.
It does feel overreaching at times, but Mati Diop’s French-Senegalese first feature is a beguiling take on how tragedy can haunt the present.