An unconventional, mosaic-like, though not always engaging account of the last day of Pasolini’s life—capturing the values, ideals and artistry of a filmmaker who was also an ideological provocateur.
Petzold’s unique treatment of the doppelganger story as a Hitchcockian exercise in exorcising the Jewish-German trauma of WWII boasts an extraordinary denouement of unparalleled execution.
Football as cinema, if only barely, as the director and his father talk about the latter’s refereeing of the game, and by extension, Romania’s late ‘80s political history in this uneventful and uncompelling documentary.
An ethereal animated feature if there ever was one, Irish filmmaker Tomm Moore’s wondrous follow-up to The Secret of Kells is an antidote to the fast and furious world of Hollywood animation.
Watching Wes Anderson’s total command of his exquisite craft is a thing of pure joy few can match.
A tale about self-acceptance, this modest Studio Ghibli anime may take a while to get going, but it achieves some kind of emotional crescendo by its denouement.
The plot may involve repetition, but the dramatic power of its execution sees Zhang return close to the form of his early 1990s works.
It frequently feels like a self-admiring work intoxicated with its own style and mood, but this chic arthouse vampire indie, shot in the Persian language, offers a taste of honey amid the spillage of blood.
Sciamma’s nuanced if immersive coming-of-age drama fizzles out somewhat by the end, but her strong compassion for her characters remains resolute throughout.
It has its great moments, but Andersson’s ‘Living’ trilogy closes on a lacklustre and disappointing note.
