Spectral, hallucinatory images abound as Lynch boldly and abstractly experiments with digital video in what could be his most nightmarish and impenetrable odyssey into the dark recesses of the mind since 1977’s Eraserhead.
This mostly decent 18th installment balances drama with sharp swordfighting action in what is a decidedly darker film in tone.
One of the most notorious films in the history of cinema—its explicit, unsimulated depiction of sex hides a troubling exploration of social alienation.
Perverse, disturbing and chilling, but also essential, Pasolini’s controversial final film evokes both disgust and fascination in equal measure.
Pasolini asks the Italian public very bold and awkward questions about sex—and all of its political, social, economic and cultural implications—in this superb and highly-entertaining documentary survey.
Tales of lust and love are intertwined with Pasolini’s astonishing location shooting in this weird concoction of a film that runs a bit too long.
Slow cinema as an anti-police procedural, Dumont’s fascinating if unclassifiable work features a hypnotic Emmanuel Schotte (in his only film role), whose face must be one of the most arresting in all of cinema.
The story-within-a-story treatise might feel undercooked but Welles still does a lot within its short runtime, particularly creating the film’s dreamy, intoxicating atmosphere, accompanied by the ethereal music of Erik Satie.
Not as complete as The Decameron was, this lust-filled, sex-crazed medieval fantasy will probably knock you out with its comic outrageousness.
Pasolini’s first film in his unofficial ‘Trilogy of Life’ is wildly provocative and blasphemous where religion and sex meet at the crossroads of art.
Eternality Tan 