Not as powerful or involving as Meszaros’ previous semi-autobiographical ‘Diaries’, but as an opportunity to grasp how the 1956 Hungarian Revolution impacted and divided its people, it does an adequate job.
Wong Kar-Wai became one of contemporary Chinese cinema’s most distinctive auteurs with this dreamy-romantic if fatalistic evocation of 1960s alienation and forlorn.
Lynch’s delirious Palme d’Or-winning film starts very strongly but peters out as an incoherent if still fun, violent and erotic lovers-on-the-road movie.
A haunting circular tragedy, Zhang Yimou’s tale of passion, lust and angst in rural China is a visual powerhouse.
Good but not great, this final film of the ‘Godfather’ trilogy should still please the more generous fans.
A transcendent masterpiece that reveals intricate thematic complexities and showcases Kiarostami’s brilliance upon a closer and critical examination.
Continue reading →One could maybe marvel at its storytelling efficiency with a 90-minute narrative spanning decades of tumultuous modern Chinese history, but it doesn’t quite know whether to be epic or cheesy in its treatment.
There’s so much action in this movie that it leaves you dazed, yet despite its excesses the drama remains utterly convincing.
Continue reading →Only their third feature, the Coens show that they could do a 1930s gangster movie in a style of their own.
Continue reading →Ann Hui’s underrated work is a masterful commingling of memory, identity and diasporas.
