The Czech New Wave makes a rare foray into sci-fi in this well-made work from the ’60s dealing with the existential perils of space exploration and the unknown.
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Ikarie XB-1 (1963)
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Author / Eternality Tan
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White Sheik, The (1952)
Fellini’s first solo feature as director would lay some of the artistic groundwork for his career in this sporadically entertaining comedy about a newlywed’s rendezvous with a ‘romantic ideal’ on her honeymoon in Rome.
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Good, the Bad, the Weird, The (2008)
An outrageously fun kimchi western for the ages, this is one of the most accomplished action films from South Korea.
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In a Year with 13 Moons (1978)
Fassbinder’s tale of a despondent transgender woman facing the anguish of a wrecked love life might be one of his gloomiest efforts in portraying the existence of the marginalised.
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Buco, Il (2021)
Frammartino’s first feature in more than a decade, this dialogue-less wonder of a film is an immersive journey into one of the world’s deepest caves where Man must treat scientific discovery and human mortality with the same curious brushstroke.
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Sexy Beast (2000)
Glazer’s stylish feature debut is quite sensational—a hilariously tense showdown between a laidback Ray Winstone and a foul-mouthed Ben Kingsley, the latter hoping to recruit the former, a ‘retired’ safecracker, for a final heist.
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Broadcast News (1987)
Sparks truly fly in this superb film about a love triangle set in the milieu of television reporting, featuring a terrific Holly Hunter as a feisty news producer.
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Black Cat, White Cat (1998)
Kusturica’s Venice Silver Lion winner is as raucous a cinematic affair as any—its infectious energy doesn’t drop one bit as a bizarre story of small-time gangsters, poor gypsies and arranged marriages play out in a Serbian village along the Danube River.
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Burning Days (2022)
One of Turkey’s most underrated directors reaches new filmmaking heights in this terrific slow-burn of a psychological thriller, set in a sweltering, water-scarce town in danger of imploding.
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Caravaggio (1986)
The great 17th-century Italian painter is given the screen treatment in Jarman’s idiosyncratic, if at times anachronistic, deconstruction of a brilliant but tormented figure, featuring an indelible supporting performance by Tilda Swinton in her acting debut.
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