Slow cinema as an anti-police procedural, Dumont’s fascinating if unclassifiable work features a hypnotic Emmanuel Schotte (in his only film role), whose face must be one of the most arresting in all of cinema.
Kiarostami’s observant eye for landscapes and people reaches its apotheosis here in this graceful, if sometimes elusive, meditation on life and mortality.
Perhaps too unfairly dissed, this is electrifying filmmaking by Stone as he captures the excessive machismo of sport—in this case, American football—with flashy editing and an energetic ensemble cast that includes strong turns by Al Pacino and Jamie Foxx.
A landmark ‘90s sci-fi masterpiece with that rare combo of style and substance—two decades later, it loses none of its sobering philosophical inquiry.
This is a superb early work from Chang Tso-chi, focusing on a family whose members are mostly visually-impaired, and shot in a poetic, dreamy style that accumulates emotional power by the end.
Studio Ghibli’s first full digital animation is a light-hearted and free-spirited take on urban family life told in humorous, sometimes fantastical, vignettes that are created in a minimalist watercolour style.
A more accessible Straub-Huillet work than usual, focusing on a man who returns to Sicily and the artfully-staged conversations he has with various people in his journey.
Arguably the Dardennes’ most important film with a searing performance by debutant Emilie Dequenne, though its nauseating vérité style takes getting used to.
A masterful tapestry of interwoven stories and interconnected characters – this is one of P.T. Anderson’s finest hours.
Kubrick’s final film is a calculated psychosexual trip filled with paranoia, moral depravity and sexual fantasies and excesses.
