One of the most beautifully shot movies ever made, Tarsem Singh’s modern cult classic is an ‘elegiac epic’, an intertwining of two sets of narratives about the endless imagination and despair that the human mind can experience.
Far from the kind of erotica that masquerades as political art, Terayama’s largely uninteresting cult oddity featuring Klaus Kinski is an absurd tale of sadomasochism as a white man forces his mistress to become a prostitute to test her deep love for him.
An interrogator and his subject are under the scrutiny of Hui’s camera as he dives into a murky part of Singapore’s legal history through a highly psychological mode that will interest adventurous cinephiles with a discerning taste for the avant-garde.
The iconic duo return in another rollickingly amusing adventure as they must clear their name after being framed for crimes they didn’t commit, rendered in the tactile, almost corporeal stop-motion quality that Aardman has been reliably producing for decades.
This Swiss drama shares a similar spirit with the breezy films of ‘60s French New Wave as an exceptional Bulle Ogier plays an enigmatic woman who is the subject of two writers in this thought-provoking work about what it means to construct a person(a) through fact and fiction.
Containing the hallmarks of great sci-fi fantasy movies, this enthralling but underseen animation from the ‘Fantastic Planet’ director, with art stylings from Mœbius, gives us intergalactic, mind-bending travel, as an urgent rescue crew attempts to reach a boy stranded on a hostile planet.
Sweeping, intimate and emotional, Salles returns to form with his first fiction feature in 12 years as a close-knit family is irreversibly impacted by the Brazilian military dictatorship in the early 1970s.
An exceptional performance from Nicole Kidman sees her play a CEO drawn to playing a game of risque and risk with a young male intern, as this somewhat miscalculated film forces us to question the moral quandaries of professional and sexual domination and submission.
An orphaned brother and sister are separated by child social services in Adam Elliot’s life-affirming if darkly amusing stop-motion animated Australia, where misfits, weirdos and religious fanatics reside.
A work fundamentally rooted in voyeurism and the invasion of personal space in private and in public, Yeo’s part-mystery, part anti-thriller teases us with its form and structure as a young couple tries to find their missing child who has disappeared in mysterious circumstances.
Eternality Tan 