Continue reading →Jim Jarmusch’s third feature is difficult to pigeonhole, in what is a stylishly shot piece that works as an offbeat if poetic comedy.
Continue reading →Jim Jarmusch’s third feature is difficult to pigeonhole, in what is a stylishly shot piece that works as an offbeat if poetic comedy.
Continue reading →A black-and-white samurai-cum-ghost movie with a thin storyline but effective in its consistent capture of an eerie if alluring visual tone.
Continue reading →A slow and thematically dense drama about forgiving, forgetting, and remembering, backed by a decent ensemble performance.
Continue reading →Charting a woman’s dour domestic life as a mother in early 20th century Sweden, and whose artistic awakening comes in the form of a camera, Troell’s late-career triumph is a layered, exquisite delight.
Continue reading →Jan Troell’s naturalistic if poetic debut feature may have been well-regarded in Swedish cinema, but it is difficult to be absorbed by a work that is too meandering and elliptical for its own good.
Continue reading →A ‘historical epic’ about a Swedish family emigrating to the States, told unhurriedly in the most intimate and natural of ways.
Continue reading →A great follow-up to “Marius”—hilarious, dramatic and features superb performances.
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Rocking, grooving fun in this unpredictable and offbeat picture that impresses in its seamless shifts in tone and great chemistry between the two leads.
Continue reading →A seemingly straightforward serial killer on-the-run story sees Imamura deliver a devilishly clever examination of the complexities of human nature.
Continue reading →Jonathan Demme’s finest two hours is also one of the greatest films to emerge from the ‘90s.