Yang’s complex, metaphysical tale of intersecting narratives continues his fascination with urban relationships—of people and spaces—in this competently-constructed stunner.
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Terrorizers, The (1986)
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Author / Eternality Tan
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Paradise: Hope (2013)
The third entry in Seidl’s trilogy may be the least provocative but it is surprisingly one of his more embracing films as a teenage girl becomes infatuated with a much older doctor at her dieting camp.
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Taipei Story (1985)
Yang’s outstanding second feature is a slow and methodical look at romance and conflict set against the modernisation of Taiwan.
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Fabulous Baron Munchausen, The (1962)
Arguably the artistic pinnacle of Zeman’s career, this endlessly creative work featuring an eclectic range of visual effect techniques sees the titular hero serenade us with his grand, incredulous adventures.
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Exploring #13: Denis Villeneuve
‘Exploring’ features the filmographies of filmmakers that I’ve largely completed and celebrates them on the week of their birthdays.
Megalopolis (2024)
With incredible abandon and ambition, Coppola’s work, infused with Roman allegory, is staggering in terms of craft despite its rather clunky storytelling, as a time-controlling architect hopes to rebuild a new utopian city that is future-looking.
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3 Faces (2018)
Panahi’s fourth feature since his house arrest is familiar in terms of his usual mode of cinematic address, but this time he paints a desolate picture of patriarchy rearing its ugly head amid some quiet moments of poetic beauty.
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Fairytale (2022)
An unsurprisingly quaint coda to Sokurov’s extraordinary career, as archive footage is combined with deepfake technology, resurrecting Hitler, Stalin, Mussolini and Churchill as spectral artefacts in a liminal, purgatorial space between death and death.
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Daughters (2024)
A meaningful social initiative to connect young daughters with their incarcerated fathers is the subject of this rewarding Sundance award-winning documentary that might be one of the most moving films of the year.
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Legendary Weapons of China (1982)
Offering almost nothing in terms of plot and characterisation, Lau’s film is an often hilarious if skilful showcase of a series of dynamic action ‘spectacles’ one after another.
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