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.
Baumbach’s charming if at times elegiac black-and-white drama about self-discovery and acceptance features an indelible performance by Greta Gerwig.
The first-ever film to be shot in an African language, Sembene’s landmark sophomore feature is a cultural experience to behold, and a gently comic satire about the bureaucratic hurdles a debt-ridden man has to undergo to cash in his money order.
Demy’s first feature is a modest, warm-spirited take on the bittersweet nature of past romances, transient acquaintances and the desire to find greener pastures.
The magic of cinema is exuded in this dialogue-as-lyrics French musical that is easily one of the most emotionally resonant pictures of its time and genre.
This 19th installment is a rather straightforward if still serviceable affair, as the guilt-ridden blind swordsman protects a woman from nefarious harm.
Anderson’s weakest in a long while despite the indelible images and precise mise-en-scene which he is so good at—there’s hardly any character worth resonating with, and the stories are way too dry and lack sentiment.
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.
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.
A key work of early surrealist cinema, Cocteau’s baffling if highly-imaginative avantgarde piece about the existential crisis of a poet is a treat for both the eyes and mind.
Eternality Tan 