It does make some attempt in drawing out a poignant story about grief and loss, with Letitia Wright particularly impressive, but this sequel doesn’t quite scale the heights of the first movie’s creative spirit, or share its tautness.
A promising and polished debut feature, this Singapore-Korean co-production has earnestness in abundance even if the storytelling doesn’t quite offer anything markedly revelatory.
The director’s cut does sometimes feel its length, but otherwise this is a solid biopic by Stanley Kwan about one of the most eminent Chinese actresses from early 20th century, played by a stunning Maggie Cheung.
Under Petzold’s assured hands, this modern interpretation of the Undine myth mostly works and benefits most from the sublime performances of Paula Beer and Franz Rogowski.
A striking and unconventional film it may be, but Cote doesn’t seem to know what he wants to say with this story of two lesbian ex-convicts futilely hoping for a peaceful life in the woods.
One of the world cinema’s most ‘interiorised’ films about religious faith as Bresson centers on the thoughts of a suffering priest who is received coldly in the new village he has been posted to.
High society is taken apart with a ruthless hand in Ostlund’s new Cannes Palme d’Or-winning dark comedy that doesn’t always hit the mark but is nevertheless effective in fulfilling its social commentary aims.
Morally dubious yet perversely funny, this is one of the most outstanding black comedies produced by the Ealing Studios as one outsider with a royal lineage seeks to eliminate all that stand ahead of him in the line of succession.
An underrated postwar effort by Ozu, featuring an indelible performance by Kinuyo Tanaka whose character must do whatever it takes to fulfil her responsibilities as a mother to a sick child.
Bigelow’s first solo outing as director is an entertaining, at times subversive, neo-western vampire movie that is not afraid to have fun with its material.
Eternality Tan 