It may sometimes feel too didactic, but this documentary about the proliferation of prisons in the US as set in the context of racial inequality has its moments of shocking power.
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13th (2016)
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Category / Others
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Coachman, The (1961)
This Silver Berlin Bear winner is one of the great tear-jerking melodramas from the Golden Age of Korean cinema, depicting the struggles of a working-class family as they find their self-respect and dignity constantly being attacked.
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Disciple, The (2020)
As a character study on a young Indian classical music vocalist trying to persevere in his quest to be a master of the craft, Tamhane’s sophomore feature is occasionally overwrought and ironically one-note.
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Little Women (1994)
This ‘90s adaptation of Louisa May Alcott’s famous novel may be traditionally told, but it is perfectly cast and remains possibly the most endearing of them all.
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Trial of the Chicago 7, The (2020)
Sorkin’s a reliable screenwriter but lacks an imaginative cinematic eye as a director, and it shows in this uneven, and at times, stilted dramatisation of a key case in 20th-century US legal history.
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Mughal-E-Azam (1960)
A milestone of popular Indian cinema, this enduring classic is a lavish epic about the taboo romance between a prince and a court dancer, and how love might triumph over power.
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Molly’s Game (2017)
Aaron Sorkin’s directorial debut doesn’t break new ground, but offers familiarity including his penchant for rapid-fire conversations that are delivered with gusto by Jessica Chastain and Idris Elba.
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Girl Walks Home Alone at Night, A (2014)
It frequently feels like a self-admiring work intoxicated with its own style and mood, but this chic arthouse vampire indie, shot in the Persian language, offers a taste of honey amid the spillage of blood.
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Last and First Men (2020)
Johannsson’s last and first feature is a warning to humanity, a haunting sci-fi experimental mood piece shot in 16mm, narrated by Tilda Swinton and accompanied by his unique musical sound.
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‘Til Madness Do Us Part (2013)
Wang Bing’s extraordinary observational documentary shows us what it’s like in a mental asylum in China—for four gruelling hours, we find ourselves full of human empathy and incapable of rendering judgment.
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