An (in)famous Buddhist temple is in crisis as religion meets politics at the heart of Thai society in this revealing documentary.
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Come and See (2019)
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Tag / 2019
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Young Ahmed (2019)
The story of a radicalised young boy who desires to kill his schoolteacher is rendered with subtle but powerful strokes, making this one of the Dardennes’ most relevant films.
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Sound of Metal (2019)
A heavy metal drummer goes deaf in this heartfelt ‘finding thyself’-type film headlined by a standout performance from Riz Ahmed, and featuring innovative use of sound that is true to its subject matter.
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First Cow (2019)
Reichardt continues to show why she is a master in making films where nothing quite happens, yet there is so much going on beneath the surface in this slow-moving if poignant tale of friendship between two men.
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Long Walk, The (2019)
Mattie Do’s third feature might feel convoluted at times, but it is conceptually a largely fascinating sci-fi horror drama that explores personal guilt and regrets across time.
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Mr. Jones (2019)
Good but not great, this handsomely-mounted biopic about a Welsh journalist’s news-breaking report on the Ukrainian famine of the early ‘30s under Stalin is a welcome introduction to a murky and disturbing part of 20th-century history.
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John Denver Trending (2019)
Straightforward but effective feature debut that depicts the perils of social media virality in a post-truth world, through the eyes of a young boy suffering from an immeasurable injustice.
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City Dream (2019)
An old feisty street seller and his poor family fight for their right to make a living as local authorities demand their relocation in this engrossing, and at times, hilarious documentary filmed in pre-COVID Wuhan.
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Invisible Life (2019)
A decades-spanning Brazilian melodrama about two sisters separated from each other—while it’s lushly-filmed and features strong performances, its repetitive nature and an underwhelming finale stop it from being a memorable film.
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To the Ends of the Earth (2019)
The banality of cultural tourism as variety show is poetically expressed in the hands of Kiyoshi Kurosawa as a Japanese crew travel to Uzbekistan for work—it also features an underrated performance by ex-AKB48 J-pop star Atsuko Maeda.
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