Peckinpah’s masterful final word on the Western, this elegiac piece, about a reluctant lawman hired to kill an outlaw who is a longtime friend, is a cat-and-mouse chase of an existential order, drawn out expertly as a cinema of delay and detour, as inertia begets inertia.
Erice’s allegorical work puts you in a trance-like spell with its picturesque cinematography and disquieting mood setting as a child is haunted by James Whale’s ‘Frankenstein’ in 1940s rural Spain.
One of Zanussi’s most radical and playful offerings as his protagonist, a physicist, attempts to put faith in science to explain human existence and matters of life and death.
Ripstein’s startling work is the OG ‘Dogtooth’, about a man who has locked his wife and children in his house for nearly two decades, at once so infuriating to watch and a bleak satire on the hypocrisy of toxic patriarchy and the extremes of parental love.
This final installment caps the long-running series with a more dignified drama-focused entry as Zatoichi once again tries to seek justice for the oppressed.
Visconti’s screen treatment of the Wagner-obsessed King of Bavaria is inevitably tragic and melancholic, as this 4-hour epic charts his rise and downfall into madness.
Sen channels the unorthodoxy of Godard in this fiercely political docufiction about a Marxist-leaning radical tasked to hide in a middle-class woman’s luxury apartment.
This psychedelic, violent and sexually-charged cult classic is unlike any other in early Japanese anime, about a woman making a pact with the devil in an act of desperation.
This enduring horror classic remains frightening not just for its iconic scares but also its fidelity to life—that the seepage of the supernatural into physiological reality is not merely a fantasy but a raw confrontation with the limits of religious faith.
Eternality Tan 