Zulawski’s unfinished sci-fi epic, disrupted by the then Communist Polish government, about the perils of forming a new civilisation on an inhospitable planet is manic, ambitious if somewhat befuddling filmmaking at its best, rendered generously with jump cuts, astonishing imagery and the commitment to highly-physical performances.
A brilliant Isabelle Huppert headlines Chabrol’s true-story WWII drama about French women who had to deal with illegal abortion and prostitution, while bearing the brunt of legal and moral injustices.
Chan does his stunts and comedy with aplomb, but this sequel is let down by a wafer-thin plot and poor pacing.
Denis’ semi-autobiographical feature debut sees her reflect on the distant colonialist memory of being a white girl living in Cameroon, in a filmmaking style that is unmistakably hers—sensual, tactile and poetic.
With wall-to-wall ethnic music and a highly-theatrical style, Parajanov’s last completed feature may be the most accessible of his most well-known folkloric works, best described as an experimental Fellini on steroids.
One of the greatest of all Japanese anime from the master Isao Takahata, this holds enough emotional power to reduce any grownup into a sobering mess.
Scorsese’s most misunderstood film is also one of his masterpieces – an intensely personal, highly evocative and possibly the most spiritually affirmative picture about Christ ever made.
The film that launched Almodovar internationally as an auteur is a tragicomic screwball farce whose effortless execution is as impressive as it is sublime.
Kieslowski juxtaposes empathy with morality in this powerful film – as essential a watch as any in cinema on the nature of killing, government-sanctioned or otherwise.
Belief systems—namely science and faith—meet at the crossroads in this powerful and devastating first episode of ‘Dekalog’.
