Nightmares don’t get any more intense and slicker than in Edgar Wright’s latest genre-mashing effort—a fun, psychological thriller about a young woman who discovers that she can time-travel through her dreams.
Clandestine affairs and the desire for sexual connection mark Lou Ye’s naturalistic, if at times, meandering take on the taboos of the conservative Chinese society.
Stillman’s accomplished comedy (his debut feature) tackles a particular class milieu in America—what the young, well-to-do Manhattanites deem as ‘urban haute bourgeoisie’—with a wry and sardonic tone that is uniquely his.
This late-career work is one of Chahine’s better efforts—a largely engaging 12th-century epic about the dangers of religious extremism and the power that a humanist philosophy gives to its people.
A riveting if underrated postmodernist tale by Jarmusch about the multiplicities and intersections of cultures new and old, starring an excellent Forest Whitaker as a hip-hop listening African-American hitman deeply influenced by the ancient mythos of the Japanese samurai.
Effortlessly mounted and conceptually strong, Lou Ye’s latest starring Gong Li is a dreamlike, meta-layered tale of espionage as the Allies attempt to one-up the Japanese in WWII Shanghai.
Feels modern in full-throttle blood-spurting style, yet also wholly in period with Shakespearean-speak – a violent, beautiful if occasionally emotionally distancing screen adaptation of the famous text.
Lou Ye’s breakthrough is a risqué-lite affair, shot in a gritty, disjointed style that pays homage to Hitchcock’s Vertigo.
Inspired by Kiarostami’s ‘Taste of Cherry‘, this standout American indie about a young effervescent Senegalese taxi driver befriending a suicidal old man features two extraordinary, emotionally affecting performances from Souleymane Sy Savane and Red West.
Chahine’s first autobiographical film enthrals and flounders at the same time, featuring a young Egyptian man in love with acting and the movies, as WWII rages on nearby.
