A Finnish youth environmental activism documentary that is surprisingly genteel, and hence quietly effective and reflective, encouraging us to be compassionate to activists—and as activists—in active modes of disruption.
Continue reading →
A Finnish youth environmental activism documentary that is surprisingly genteel, and hence quietly effective and reflective, encouraging us to be compassionate to activists—and as activists—in active modes of disruption.
A staunch if conniving Catholic wife becomes a husband-cum-taxidermist’s worst nightmare in this ‘60s Mexican cult classic that plunges us into the depths of anger and frustration as well as laying bare the hypocrisy of religious faith in creating false narratives.
As imaginative as any other film from Zeman, though the storytelling may feel rather laboured, as authorities try to find several missing boys onboard a new airship that has flown away.
While it doesn’t seem as clever a ‘hitman’ film as Linklater probably imagined it to be on paper, his attempt should provide some cursory pleasures, fashioning a mildly transgressive romance between a fake contract killer working for the police and his client.
Marker’s early documentary is a remarkable gem that constantly surprises with its eclectic approach to observing the world, in this case, Siberian culture, history and its peoples.
Glass’ sophomore feature is tense, stylish, violent, sexy and takes some artistic risks, headlined by an excellent Kristen Stewart playing a gym manager who falls in love with a female bodybuilder in a drugs-and-guns-infested small town.
This Venice Golden Lion winner is a powerful treatise on the plight of women in Iran, told through a refreshing bead-like narrative and shot in neorealist style.
Still the most internationally successful Czechoslovak film of all time, Zeman’s work is a brilliant mix of live-action, animation and special effects as a kidnapped scientist naively creates a super-bomb for an evil millionaire.
This breakout hit from Sundance about growing up as an Asian-American in the late 2000s is energetic and emotionally resonant, overcoming its sense of familiarity through the sincerity of its filmmaking.
As vital a documentary as any in the last ten years, Derki courageously enters the lion’s den that is terrorist-infested Syria by posing as a war photographer, giving us an unprecedented view of what it is like to be in the company of religious extremists young and old.