Wakamatsu mixes exploitative sex with subversive politics, but the film doesn’t really compel and is too long-winded.
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Wakamatsu mixes exploitative sex with subversive politics, but the film doesn’t really compel and is too long-winded.
More educative than cinematic, Herzog’s documentary about technology, particularly the affordances and perils of the Internet, lacks the cutting-edge incisiveness of more well-developed treatises on the subject.
The emerging Georgian filmmaker’s second feature is an entrancing anti-romanticisation of the romance tale, recalling the artful whimsy and playful storytelling of Miguel Gomes.
The third part of Park’s ‘Vengeance’ trilogy explores sin, atonement and poetic justice in the only way he can—through an intricately-plotted narrative, strong visual flair and explicit violence.
Flies the British social realism flag sky-high—this is a remarkably piercing yet sensual work by Andrea Arnold, not to mention featuring a breathtaking performance by Katie Jarvis.
Arnold makes a detour into documentary filmmaking as her camera brings us up close and personal with several cows in a dairy farm, capturing their magnificence as well as the sheer drudgery of their reality.
Certainly not one of Malick’s best, but this extraordinarily beautiful film—in its 172-minute extended cut—sees the director at his most lyrical and self-indulgent.
This is feisty if sometimes way too melodramatic filmmaking from Chahine as he pits poor and frustrated peasants against the rising tide of self-serving capitalism.
Sen channels the unorthodoxy of Godard in this fiercely political docufiction about a Marxist-leaning radical tasked to hide in a middle-class woman’s luxury apartment.
Fantasy encroaches into reality in this slight if charming little anime from Studio Ghibli that might just finally make non-feline lovers realise why cats are to be fussed about.