Cote goes for a more naturalistic style in this meandering and ultimately inconsequential attempt at humanising nymphomania, as three hypersexual women reside in a rest home guided by a therapist and her assistant.
Touzani’s sophomore feature, a Moroccan queer drama, continues her penchant for a cinema of delicateness, centering on a middle-aged couple whose lives are subtly reinvigorated when a young apprentice joins their tailor shop.
In Schanelec’s under-appreciated slow cinema oeuvre, this could be one of her ‘noisiest’ and most perceptive works as we become privy to the intimate conversations of several groups of strangers who are waiting to depart at the busy Paris-Orly airport.
Soderbergh’s take on the strip show dazzles with sights and sounds, but his film lacks dramatic substance.
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.
