Somai captures both the energy and inquisitiveness of youth, and the resignation of the aged, as three boys’ encounter with a lonely old man brings about changed perspectives toward life and death.
Good but not great, Kaurismaki does ‘60s period drama with his brand of droll comedy as two Finnish men on a test drive encounter two female ‘comrades’ (a Russian and an Estonian) in need of a ride to the harbour.
A narratological and tonal detour from his earlier output, Yang’s biting satire exposes the anxieties and hypocrisies of several young adults living in a modernising Taipei that has conditioned its people to celebrate the transactional and exploitative aspects of work, relationships and life.
Im’s swift and nimble war epic eschews subtlety and nuance for an emotionally charged work about the moral dilemma of taking ideological sides as Korea became tragically divided after WWII.
Kieslowski’s often overlooked middle installment of the famed trilogy may be one of his most mischievous if perverse films as a downtrodden, recently divorced Polish man plans an elaborate revenge plot against his French ex-wife.
A man descends into madness when he suspects his wife is cheating on him in Chabrol’s decent exercise in the distortion of psychological realities.
Wong’s influential international breakthrough is fascinating, sensual and carefree, and an essential Hong Kong classic from the ’90s.
Kiarostami closes his wondrous ‘Koker’ trilogy with an even more multi-layered, meta-cinematic experiment in the guise of a love story.
A tad long and sometimes incoherent in its thematic direction, but this eco-tale of shape-shifting raccoons could be Takahata’s most creative and fantastical effort.
This ‘90s adaptation of Louisa May Alcott’s famous novel may be traditionally told, but it is perfectly cast and remains possibly the most endearing of them all.
Eternality Tan 