This early Godard sees Anna Karina at her most bewitching (those soul-staring eyes that break the fourth wall!) as the auteur reinvents the ‘rom-com’ with wilful abandon and artistry.
Structured like a diptych, Hong’s work here is more meditative than usual as his protagonist tries to find the grace and psychological clarity that have eluded her all her life.
Save for the decent performances by Humphrey Bogart (his only Oscar win) and Katharine Hepburn, this journey-through-a-hostile-river adventure could have been more meandering than usual.
A romance drama that is also a comedy and an elegy, Trier’s introspective new film has an understated, layered quality—and some cinematic tricks up its sleeves— exploring what this era’s ennui among millennials might feel like.
Kristen Stewart gives a top-tier performance of quiet rage as the tormented Princess Diana in this journey down a psychological hellhole that is as formally-crafted a film as you’ll see this year.
This beloved classic epitomised the French ’60s musical, with Demy at the top of his game weaving his multitude of characters together in the delightful and colourful world he had created.
A lesser but somewhat stylishly-crafted effort by Scorsese, featuring Nicolas Cage as a burnt-out paramedic who works the graveyard shift and is haunted by the victims he couldn’t save.
Almodovar’s Stockholm syndrome drama will probably be cancelled if made today, but while it isn’t a home run by his provocative standards, it features two impressionable performances by Antonio Banderas and Victoria Abril.
Exciting yet elusive, violent yet convoluted, this Locarno Golden Leopard winner is a strange beast of ideas, tropes and moods.
The specificity of its cultural context just about lifts this nuanced Indonesian drama about a high school girl torn between the custom of accepting marriage proposals and her dreams of further studies.
Eternality Tan 