Nuns of all kinds—caring, sadistic and lesbian—adorn Rivette’s controversial and sardonic sophomore feature about the ironies of religious faith, built around arguably Anna Karina’s most enigmatic performance.
Bergman in fine experimental form—still a radical work that explores the theme of personal identity through the performative and illusory medium of cinema.
A talking Marxist-leaning crow accompanies an old man and his son as Pasolini fashions a lukewarm comedy with absurdist undertones as it pokes fun at religion, politics and society.
Uneven storytelling slightly mars this swordplay action-drama classic with one of the most spectacular action climaxes in Japanese cinema.
This is Godard having fun with colours and language as its crime-noir trappings somewhat mask the auteur’s increasing fixation on Marxist politics, though the film isn’t always coherent or compelling.
This rarely-seen work by Chabrol is a major accomplishment, set in a Nazi-occupied French town about the courage and deception tactics of French civilians as they support the resistance in secret.
Not as purely cinematic as some of his greatest works, but Ray manages to invoke feelings of introspection as a movie star gets a reality check from strangers—and fans—he encounters on a train.
Zatoichi’s caught in between nasty gangsters and ungrateful villagers in this 14th entry that boasts great action but little in a way of a substantial story.
Zatoichi’s use of violence to right wrongs is called into question in this well-made 13th installment.
Polanski’s Golden Berlin Bear winner traverses the territory of absurdist cinema in what is a sporadically engaging but sharp commentary on power plays associated with psychological sadism and the gender and classist pressures to conform.
Eternality Tan 