Swinton’s sublime gender-fluid performance is one for the ages (well, quite literally), giving Potter’s one-of-a-kind adaptation of the unfilmable Virginia Woolf novel its consistent anchor, as it explores the human mind’s preoccupation with both existential and corporeal torments and pleasures.
Lynch’s feature-length prequel to his ‘Twin Peaks’ series is a psychedelic head trip into the lower rungs of hell, backed by an extraordinary if unexpectedly emotional performance from Sheryl Lee, as the narrative traces the final days leading up to her character’s demise.
The anxiety of opening one’s heart to another marks this underrated Miyazaki effort about a WWI pilot cursed to look like a pig—it could be his funniest film, yet the enveloping sense of nostalgia and memory makes us yearn for a past that we have never known.
A well-built historical action epic by Mann about the British and French battling for control over the American colonies, but it does sometimes feel bogged down by its warm, romantic tone amid the bloodshed.
It may seem formal and stately in its visual and narrative posturing, but this splendid Merchant-Ivory production achieves a rare sense of intimacy and grace as it tells a story of connections and consternations across different social classes.
There is a sense of both melancholy and hope in this strong effort by Rohmer as he fashions a drama about the unwavering faith of a single mother who believes in her own idiosyncratic conception of love.
When it is not weird and dark, its gaudiness might annoy, but there is a method to the madness as Coppola pulls every trick in the cinematographic and editing handbook to deliver a studio movie that no one would probably dare try to make in this vein again.
Prefiguring the likes of ‘Funny Games’ and ‘Cache’, Haneke’s second feature is a challenging and disturbing work on media violence and its psychological ramifications.
A mix of fiction and reality, and memory and imagination as Shyam Benegal weaves a complex drama full of literary qualities, but somehow isn’t compelling enough to get into.
Extraordinary docu-fictive filmmaking by Kiarostami as the second part of his ‘Koker’ trilogy brings us to the aftermath of the devastating 1990 Manjil-Rudbar earthquake via a skillfully deceptive meta-cinematic device.
Eternality Tan 