Some centuries-old Beninese treasures are returned by France, sparking debate over its neocolonial political posturing sublimating as cultural diplomacy as Diop’s quaint Berlinale Golden Bear-winning documentary highlights the dissonances inherent in this ‘homecoming’.
To some degree an anti-blockbuster par excellence, this much maligned sequel sees the infamous villain navigating a new and treacherous psychological terrain, packaged as an unorthodox if imaginative musical-cum-courtroom drama.
An interrogator and his subject are under the scrutiny of Hui’s camera as he dives into a murky part of Singapore’s legal history through a highly psychological mode that will interest adventurous cinephiles with a discerning taste for the avant-garde.
The iconic duo return in another rollickingly amusing adventure as they must clear their name after being framed for crimes they didn’t commit, rendered in the tactile, almost corporeal stop-motion quality that Aardman has been reliably producing for decades.
The gun of a high-ranking civil servant seems to have vanished in his home, as tensions heighten within his family (and outside in the streets of Tehran caused by the Mahsa Amini protests) in Rasoulof’s devastating but also galvanising work about the elusiveness of truth and the abuse of power.
Sweeping, intimate and emotional, Salles returns to form with his first fiction feature in 12 years as a close-knit family is irreversibly impacted by the Brazilian military dictatorship in the early 1970s.
A breathtaking film to look at, this understated Venice Grand Jury Prize winner explores war and gender as a deserting soldier causes tension in a remote Italian commune hidden away in the mountains, and thus spared from the horrors of WWII.
An exceptional performance from Nicole Kidman sees her play a CEO drawn to playing a game of risque and risk with a young male intern, as this somewhat miscalculated film forces us to question the moral quandaries of professional and sexual domination and submission.
An orphaned brother and sister are separated by child social services in Adam Elliot’s life-affirming if darkly amusing stop-motion animated Australia, where misfits, weirdos and religious fanatics reside.
A work fundamentally rooted in voyeurism and the invasion of personal space in private and in public, Yeo’s part-mystery, part anti-thriller teases us with its form and structure as a young couple tries to find their missing child who has disappeared in mysterious circumstances.
Eternality Tan 