A somewhat underwhelming and ponderous psychological drama about a female knife-wielding spectre that haunts a European-influenced African who struggles with romantic relationships in his return to his home country.
This could be Pasolini’s most oblique work—a diptych that examines the nature of latent fascism and fetishistic consumption through the symbolism of cannibalism and the erasure of bodily traces.
As zany a film you can find in Indian Parallel Cinema, Sen’s work about an uncompassionate city bureaucrat who goes on a perspective-changing hunting trip is highly-expressive in form and film language.
This is feisty if sometimes way too melodramatic filmmaking from Chahine as he pits poor and frustrated peasants against the rising tide of self-serving capitalism.
A recently-widowed mother who yearns to be independent and her overprotective son cross paths in what is a slightly nondescript second feature from Meszaros about the perceived strengths and weaknesses of familial bonds.
As fascinating as it is arcane, this visually and aurally arresting work from Armenia defeats categorization, but is indescribably hypnotic.
This rarely-seen Argentinian feature debut by Hugo Santiago is an unclassifiable eye-opener—a political ‘sci-fi’ piece with cool Melville crime-thriller vibes.
One might disengage with its paganistic and hedonistic excess, but Fellini’s visionary work loosely based on Petronius’ Roman satire is a one-of-a-kind aural-visual extravaganza.
Continue reading →This is free-form, counter-cultural Japanese cinema at its astonishing best—playful, powerful and brutal all in the same breath.
Continue reading →Fassbinder’s second feature continues his minimalist and spare direction, this time centering on a group of xenophobic, good-for-nothing friends.
Eternality Tan 