A dead body is found in the Mongolian steppes in this sublimely-shot if at times bizarre arthouse tale about carnal desires and the cycle of life.
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Ondog (2019)
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Tag / 2019
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Incitement (2019)
The mid-‘90s assassination of then Israeli Prime Minister Yitzhak Rabin is radically told from the point-of-view of the assassin in this urgent and incisive sociopolitical-thriller about the dangers of holding extremist worldviews.
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Dark, Dark Man, A (2019)
Nuri Bilge Ceylan meets Diao Yi’nan in the lawless Kazakh steppes in this brilliant slow-burning investigative procedural about systemic corruption and chronic violence, directed by one of Central Asian cinema’s most distinctive voices.
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Mindanao (2019)
Mendoza’s latest doesn’t quite come together as he employs sketchy animation against his docu-realist style in an overdrawn child cancer drama with an allegorical intent that never hits any mark.
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Forest of Love, The (2019)
While it is a rather entertaining treatise on the extremes of power abuse, and contains the usual violent, sexual and immoral provocations that have characterised Sion Sono’s output, it ultimately doesn’t cut deep enough to be a rewarding experience.
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Body Remembers When the World Broke Open, The (2019)
A modest if quietly effective Canadian film that is shot in real-time in a largely uninterrupted long take, about an indigenous woman suffering from domestic abuse who is discovered by a compassionate stranger.
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Corpus Christi (2019)
Love, forgiveness and redemption weigh heavily in this Oscar-nominated religious-based drama about a young sinner who unexpectedly poses as a priest in a small Polish town.
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Traitor, The (2019)
The 80-year-old Bellocchio’s history-based Mafia-cum-courtroom biopic boasts a strong lead performance despite the fairly conventional narrative structure.
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Honeyland (2019)
A dogged Turkish beekeeper in rural North Macedonia is the anthropological subject of this ravishingly-beautiful documentary that poetically explores the joys and sadness of personal subsistence.
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Family Romance, LLC (2019)
While it may be rather underwhelming, Herzog’s gentle docu-fiction explores our need to connect with another human being despite the increasing commodification of human experiences in modern societies.
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