Polanski doesn’t seem interested to push his film past the second gear, but it is a stately and handsome work about the Dreyfus Affair.
Continue reading →
Officer and a Spy, An (2019)
Continue reading →
Author / Eternality Tan
Continue reading →
Liberte (2019)
If you enjoy slow arthouse cinema that is also extremely perverse, then this new tableau-styled film by Albert Serra about libertinism in 18th century France may be your cup of tea.
Continue reading →
River, The (1997)
Tsai solidifies his oblique, slow-paced style with this odd, and at times, shocking meditation on the incommunicability of humans through a family of loners.
Continue reading →
Vive L’Amour (1994)
Tsai’s Venice Golden Lion-winning second feature may be sparse and silent, but it remains to be one of the deepest portrayals of existential loneliness in the director’s singular filmography.
Continue reading →
Rebels of the Neon God (1992)
Still one of Tsai’s very best, this is a solid feature debut that grapples with the ennui of ‘90s youth listlessness with stylistic aplomb.
Continue reading →
Dancer in the Dark (2000)
One of von Trier’s very best, this is bold and provocative filmmaking that very few could attempt to pull off with such skill and artistry.
Continue reading →
Treasure, The (2015)
A low-key Romanian drama that struggles to find any kind of meaningful rhythm but is somewhat compensated by its droll tone and allegorical intent.
Continue reading →
Witch, The (2015)
Eggers’ first feature is remarkable in its precision and economy, and no doubt one of the most bone-chilling horror films to come out in the last few years.
Continue reading →
Swallows of Kabul, The (2019)
A painterly and potent animation that tackles the terrible oppression faced by women in Taliban-occupied Kabul in the late 1990s.
Continue reading →
Perfect Blue (1997)
Satoshi Kon’s first feature is a chilling psychological character study in adult anime form.
Continue reading →
Eternality Tan 