One of the world cinema’s most ‘interiorised’ films about religious faith as Bresson centers on the thoughts of a suffering priest who is received coldly in the new village he has been posted to.
High society is taken apart with a ruthless hand in Ostlund’s new Cannes Palme d’Or-winning dark comedy that doesn’t always hit the mark but is nevertheless effective in fulfilling its social commentary aims.
Morally dubious yet perversely funny, this is one of the most outstanding black comedies produced by the Ealing Studios as one outsider with a royal lineage seeks to eliminate all that stand ahead of him in the line of succession.
An underrated postwar effort by Ozu, featuring an indelible performance by Kinuyo Tanaka whose character must do whatever it takes to fulfil her responsibilities as a mother to a sick child.
Bigelow’s first solo outing as director is an entertaining, at times subversive, neo-western vampire movie that is not afraid to have fun with its material.
Two young Africans exiled in Belgium must navigate treacherous waters in the Dardennes’ latest social realist work, which is as clear-eyed and powerful as some of their finest output.
An artistic and personal attempt to produce a film during the Covid pandemic, this meta-cine piece is calm and poetic, told via a playful reverse-chrono structure.
Serra’s latest ‘slow cinema’ effort is at times hypnotic and beguiling, though it isn’t always consistently rewarding as he weaves a tale set in Tahiti about a stagnating High Commissioner who becomes privy to the prospect of something unimaginably nightmarish happening to his beloved French Polynesian island.
One of the most iconic anime ever produced, Otomo’s landmark work of dystopia and politics remains mind-blowing in its execution and acts as a stern warning to humanity not to destroy ourselves.
Cronenberg’s new sci-fi body horror is packed with fascinating ideas, but the film somewhat falls short in its half-baked attempt to realise them.
