Hogg’s debut feature is an enriching experience, almost Rohmer-esque in its focus on the bourgeois and their conversations as a middle-aged British woman in an unhappy marriage joins a friend’s family for a vacation in Tuscany.
A filthy rich, cold-hearted and adulterous man hopes that his melancholia-stricken wife will recover as Cote’s intriguing work asks what it means to search one’s own soul.
Shot largely like a silent film, yet it is also Hitchcock’s first ‘talkie’, this curious early work of murder and intimidation could have been sharper if it had been shorter and tauter.
A somewhat oblique and unconventional courtroom drama about the intersections of legality, spectres of neocolonialism and the plight of immigrant mothers which will require some patience, but Diop shows that she is not afraid to take narrative and stylistic risks.
Indescribably a unique, moving experience in this simple yet unconventional tale from one of cinema’s masters of masters.
With typical dark vibes set against the spectre of war and fascism, this stop-motion animated take on ‘Pinocchio’ from Del Toro impresses most with its strong writing and characterisations.
An interesting if somewhat inconsistent experiment with visual language and sound design as Van Sant collaborates with DP Christopher Doyle to capture an intimate psychical portrait of a teenage boy faced with an insurmountable psychological burden.
No doubt ahead of its predecessor both visually and technically, with compelling stretches of action and world immersion, but its storytelling depth and character development are unexpectedly shallow.
Bresson’s work throws genre and filmmaking conventions out of the window, but thoroughly elevates our soul by the end of this masterful exercise.
One of the greatest ‘prison escape’ films of all-time, masterfully constructed through the sharp and precise cinematic techniques of the incomparable Bresson.
Eternality Tan 