Cronenberg mixes the weird with the normal in this anti-Hollywood satire that is biting but doesn’t quite touch the clouds.
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Cronenberg mixes the weird with the normal in this anti-Hollywood satire that is biting but doesn’t quite touch the clouds.
A sweeping if unremarkable, ‘globe-trotting’ drama about a father who tries to locate his daughters after surviving the Armenian genocide of 1915 by the Ottoman Empire, with Faith Akin’s approach too conventional to really compel.
S&M aficionados, Nazi sympathizers and more adorn Seidl’s shocking if enlightening tableaux-esque documentary about the bewildering secrets and fetishes that transpire in the basements of Austrian residences.
The sea, by turns calm and angry, mirrors the hearts of the young protagonists, who must accept life’s vulnerabilities in Kawase’s poetic piece, shot largely on the southern Japanese island of Amami Oshima.
Meditative yet at times tonally dissonant, Liao’s work about the shifting temporalities of identity and memory is ultimately elusive.
Cote makes the monotony of industrial labour poetic and hypnotic in this decent documentary exploration of what ‘work’ and ‘working’ means to the blue-collar fraternity.
An aged activist is being charged with abetting suicide in this exceptional feature debut that explores class, society and politics through the absurdity of legality.
As a swords-and-sandals biblical epic, it is fairly spectacular, but remotely engaging.
While the storytelling sometimes struggles to convince, the technical prowess of Lou Ye’s team in capturing the extraordinary performances and putting together one mesmerizing and sensual image after another is deserving of praise.
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.