For better or worse, this is possibly the director’s most accessible film to date, lacking the wondrous mysticism of his previous works, yet at the same time it feels more intimate as a personal elegy.
Polished and generally solid, this Cold War movie would rank as one of Spielberg’s good-but-not-great pictures.
For better or worse, it feels like you are watching a book unfold in this beautiful if unbalanced adaptation of Thomas Hardy’s well-studied novel.
Zhao’s naturalistic debut feature, shot largely at the Pine Ridge Indian Reservation in South Dakota, is part ethnographic, part poetic take on the communities living on the land.
This Cannes Palme d’Or winner is a masterful, humanistic attempt at capturing the issue of immigrants, through the perspective of a ‘family’ of Tamils at a transitory point in their lives.
Villeneuve’s film builds suspense like a worker laying bricks – slowly but surely, giving us a largely solid Mexican cartel infiltration thriller that packs a strong punch.
There are richly-realised characters and performances in this layered drama about depression, centering on a family who can’t seem to communicate with each other, but it doesn’t quite come together in a resonating way by its denouement.
A man involved in Brazilian rodeo dreams of being in the fashion industry in Mascaro’s eye-opening, naturalistic work.
Mendoza’s blending of documentary and fictional elements mostly works in this hard-hitting docu-drama about the survivors of the devastating Typhoon Haiyan.
