This largely assured debut feature by Pakistani director Saim Sadiq boldly tackles themes of patriarchy and transgender as a young, married man becomes smitten by a trans woman.
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This largely assured debut feature by Pakistani director Saim Sadiq boldly tackles themes of patriarchy and transgender as a young, married man becomes smitten by a trans woman.
This beautifully animated adaptation of several Murakami’s texts is talky and philosophical as it flits between surrealism and a sense of groundedness, urging us to find or create meaning in life even when there might be none.
A Brazilian feature debut to savour, from the weathered beauty of rural villages to compelling performances by the cast as an Argentinian drug kingpin seeks refuge in the home of a family, causing tensions to simmer.
A Korean adopted by a French couple when she was a baby returns to Korea for the first time as a French woman in Davy Chou’s intimate if chastening third feature, backed by an excellent performance from Park Ji-min in her acting debut.
This deliberately-paced and quietly introspective Croatian drama is bleak yet also an utterly personal and intimate look at the topic of suicide, opening the possibility for grief to gurgle to the surface as art tries to heal by the side.
Eco-‘terrorism’ is explored in this tense and pulsating thriller about a group of environmental activists planning to bomb an oil pipeline in Texas as they try to find a precarious balance between agency and morality.
A saintly donkey’s journey on acid, but Skolimowski’s elusive, fragmentary work is also earthy, as he gives us a hallucinatory, at times visually dazzling, piece that pays obvious homage to Bresson’s much sparer and more spiritual ‘Au Hasard Balthazar’.
It will surely spark more conversations on women’s agency in dealing with sexual assault and toxic masculinity, but Polley’s work is visually uninteresting, and the performances might sometimes feel maudlin.
We haven’t had a great anti-war film in years—this WWI piece comes just as timely in the wake of Russia’s invasion of Ukraine, and is as technically accomplished and emotionally involving as some of the finest entries of the genre.
The Daniels’ wacky vision of a ‘multiverse’ action-comedy somewhat revels in its outlandish excess, and is blessed with a cast (headlined by a superb Michelle Yeoh) pretty much game to realise it to its fullest potential.