Not well-appreciated in its time, this satirical docu-style fiction feels like the last word on America’s controversial involvement in the Iraq War, and sees De Palma at his most liberal and provocative.
It draws heavy inspiration from the 1962 indie horror ‘Carnival of Souls‘, but the storytelling and execution are unmistakably Petzold’s as he tackles failed dreams and false hopes in this slow-burning psychological biz thriller.
Wong’s English-language debut could be his weakest film, though there are moments of soulfulness to savour.
A shot-by-shot U.S. remake by Haneke himself of his earlier work, which might just challenge more viewers to tackle his singular filmography.
The auteur brings his idiosyncratic style and a developing sense of filmmaking maturity to the East in this colourful and quirky shot-in-India road trip.
An assured feature debut from Mia Hansen-Løve who deals with the film’s father-daughter bond/estrangement with a clear-eyed sensitivity.
A lacklustre first half plagues Assayas’ globetrotting ‘thriller’ about corporate and personal manipulation, but it gets better and features Asia Argento in a strong performance.
The second instalment of Andersson’s absurdist ‘Living’ trilogy is a gentler but no less incisive take on the beauty and doldrums of human existence.
Schanelec’s film here works like an outdoorsy chamber piece, based on Chekhov’s “The Seagull”, and shot with the kind of abstract and fluid ambiguity that has characterised most of her fascinating output.
One of Coppola’s weakest efforts in what is a heavy-handed and muddling mess of a film, despite the good performance by Tim Roth.
