A vital and deeply humane documentary about memory, exile, and the costs of political conviction, Pin Pin’s Singapore-banned film reminds us that history does not disappear simply because it has been redacted.
A filmmaking student doesn’t know herself except through the eyes of three men who have had an on-off intimate relationship with her, as Hong gives us a sly film bounded by the circularities and repetitions of plotting and dialogue.
The third entry in Seidl’s trilogy may be the least provocative but it is surprisingly one of his more embracing films as a teenage girl becomes infatuated with a much older doctor at her dieting camp.
One of Lelio’s best-known works, this somewhat nondescript Chilean film strongly focuses on characterisation and performance as a divorcee navigates her silver years in hopes of starving off chronic loneliness.
A Palestinian resistance fighter falls in love with a girl on the opposite side of the West Bank Wall in this romance drama that operates as a deft, noose-tightening thriller when he is captured by Israeli authorities and forced to become an informant.
Carruth’s sophomore feature possesses a Nolan-meets-Malick vibe, done in an impressionistic indie style, as an inscrutable sci-fi romance plays out across time, memories and bodies.
Brilliant performances by Michael Douglas and Matt Damon drive this lavishly-produced biopic on the famed pianist-entertainer Liberace.
Triet’s highly-charged frenzy of a debut feature sees a female news reporter navigate rowdy crowds and an even rowdier family row, as her persistent ex-husband attempts to pay her little children a visit on the day of the 2012 French Presidential Election.
Glazer’s fascinating third feature is nothing like we have ever seen—a deliberately-paced tale of an ‘alien’ on Earth (precisely Scotland) in female form who seduces men to their doom.
Soderbergh’s latest is immensely well-shot and takes a methodical approach to storytelling, but still falls short of being a first-rate dramatic thriller.
