One of Lau’s most beloved works—a showcase of stupendous kung-fu slapstick comedy laced with riotous one-liners, as a royal prince goes undercover with a con artist to unravel a conspiracy related to the throne.
Soderbergh’s half-decent iPhone-shot ’90s style psycho-thriller induces paranoia and discomfort through its constricted visual style, and backed by a terrific performance by Claire Foy.
Sporadically engaging despite the palpable sense of verité-style American indie filmmaking as a newly divorced woman finds herself stranded and exploited by men in this sole feature by Barbara Loden.
Soderbergh returns with an offbeat heist comedy featuring strong performances, but one that half-grooves and half-plods along.
A tad more exciting and invigorating than the first instalment, and one that poses existential questions about the heroic quests of the titular figure(s), this is a continuously inventive and surprising work of blockbuster animation.
Kaurismaki brings his unmistakable style—and gallows humour—to London as he teams up with French icon Jean-Pierre Leaud for a darkly comic take on one man’s desire to end his life.
‘Exploring’ features the filmographies of filmmakers that I’ve largely completed and celebrates them on the week of their birthdays.
An enjoyable sophomore rom-com from Triet about ‘courtrooms and bedrooms’ as a lawyer’s personal life becomes murkily entwined with her professional exploits.
A married man finds out that his ex-lover and her husband have moved into a neighbouring house in Truffaut’s penultimate feature about the inevitability of extramarital affairs—it covers familiar thematic ground but the director’s sure-handed grip on the narrative gives it illicit thrills.
The sheer human will to survive is depicted in this unimaginably true story that is told viscerally and sensitively, based on the tragic Andes flight disaster of 1972.
Eternality Tan 