A romance drama that is also a comedy and an elegy, Trier’s introspective new film has an understated, layered quality—and some cinematic tricks up its sleeves— exploring what this era’s ennui among millennials might feel like.
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.
Eternality Tan 