Radu Jude’s debut feature takes cinematic tedium to mesmerizingly hilarious levels as he follows a young girl who is obliged to shoot for a commercial after winning a car in a lucky draw.
Featuring arguably a career-best performance by Romy Schneider, Zulawski’s work here is enigmatic and indescribably haunting as it dissects the meaning of love and desire through the psychological destabilisation of its characters.
Told in five chapters in reverse chronological order, Ozon charts the disintegration of a marriage in this well-acted bittersweet film.
A gentle, heartfelt and beautifully-shot piece about why movies inspire us, from the point-of-view of an inquisitive village boy who befriends a 35mm film projectionist.
A stunning return to form by Ridley Scott, who revived the swords-and-sandals movie in the 2000s.
Akerman’s last fiction feature is an adaptation of Joseph Conrad’s Malaysia-set first novel in an assured slow cinema style that is evocative of the tropical landscape (shot in Cambodia) where a white man is facing an existential crisis dealing with his estranged mixed-race daughter.
This companion piece to ‘881’ is the lesser of the two – craft-wise it is pretty good, but characterisations are much less convincing here.
There is a sense of both melancholy and hope in this strong effort by Rohmer as he fashions a drama about the unwavering faith of a single mother who believes in her own idiosyncratic conception of love.
One of Ridley Scott’s most unabashed and unforgettable of entertainments—a road movie that’s never about the end of the road.
The philosophising of Malick meets the ephemeral beauty of nature in this imperfect shortened IMAX version that shows how the Universe first started, and subsequently life on Earth.
