This easy-going if poor entry doesn’t quite contribute much to Zatoichi’s characterisation, nor does it have an involving premise.
Continue reading →
Zatoichi and the Doomed Man (1965)
Continue reading →
Category / Criterion Collection
Continue reading →
Parade (1974)
Tati’s swansong is a delightful circus act (and quite literally, and dazzlingly so) as he implicates artists, entertainers and audience members alike in the performative.
Continue reading →
Manila in the Claws of Light (1975)
In the pantheon of Southeast Asian cinema, this stands as one of the finest films – bold, bleak and uncompromising.
Continue reading →
Lola (1981)
This less celebrated entry in Fassbinder’s BRD trilogy is a biting take on capitalism and the commodification of the body as postwar Germany rebuilds.
Continue reading →
Veronika Voss (1982)
The perils of drug addiction meet with the allure of a faded Third Reich star in Fassbinder’s evocative and fatalistic penultimate film.
Continue reading →
Kicking and Screaming (1995)
A strong feature debut about postgraduation aimlessness that milks hilarity through an array of self-analytical characters who are far too absorbed in their own ennui to really think for themselves, but Baumbach’s clever script does all the hard work for them.
Continue reading →
Zatoichi’s Revenge (1965)
This tenth instalment goes into darker territory with forced prostitution as one of its themes, but Zatoichi is in a serious mood to right wrongs with several well-choreographed fight scenes in store.
Continue reading →
Gold Rush, The (1925)
Chaplin’s greatest box-office success in the silent era remains a cultural touchstone—a parable of greed, romance and peril that is as hilarious and touching now as it was a century ago.
Continue reading →
Spellbound (1945)
An underrated gem by Hitchcock about psychoanalysis and the guilt complex, featuring a stirring Oscar-winning score by Miklos Rozsa.
Continue reading →
Fellini Satyricon (1969)
One might disengage with its paganistic and hedonistic excess, but Fellini’s visionary work loosely based on Petronius’ Roman satire is a one-of-a-kind aural-visual extravaganza.
Continue reading →
