Triet’s third feature suffers somewhat from haphazard editing as it tells a fragmentary story about a psychotherapist who finds renewed motivation as a writer as she becomes embroiled in the affairs of an aspiring actress.
Glazer’s fascinating third feature is nothing like we have ever seen—a deliberately-paced tale of an ‘alien’ on Earth (precisely Scotland) in female form who seduces men to their doom.
This superb sophomore feature from one of the finest Mexican filmmakers working today is infectious with its artistry as it tells of two men who robbed a famous museum in Mexico City in 1985.
A Ukrainian woman travels to Austria while an Austrian man travels to Ukraine for work in what could be Seidl’s finest hour as a filmmaker—this is an extraordinary ultra-realist drama about the human costs of being dispensable in the East-West European economic flows.
Explicit unsimulated sex as an attraction aside, this is probably Noe’s worst film—too meandering, overlong and built around an annoying ‘inner thoughts’ voiceover that quickly becomes tiresome.
An anti-thriller almost, in this assured film of two distinct halves about a vengeful criminal, an exploited prostitute, and a guilt-ridden policeman who all become implicated in life’s luck of the draw.
A confident debut feature as this poignant drama about two Korean childhood sweethearts who meet again as adults in New York will likely work the tearducts.
Akin goes terribly off-course with this vile and nihilistic serial killer movie, based on a true story, yet with nothing valuable to say.
One of the most important works of Mexican cinema to emerge at the turn of the century, this is still Inarritu’s finest achievement as separate narrative threads collide (literally), sparking a thought-provoking treatise on life, love and loss.
Antonioni’s first English-language film sees him in peak form, delivering a countercultural classic that is a masterclass in exploring the art and enigma of seeing, creating and deconstructing images.
Eternality Tan 