Cronenberg Jr’s second feature sees him tackle techno-existential sci-fi with more assurance (but also with more narrative convolution) in this gory tale involving mind-controlled assassinations.
Shyamalan meets Tarkovsky in this enigmatic and disquieting drama shot in 16mm about the sociology of Canadian ‘ghost towns’ and the psychological impact on its inhabitants.
A quiet and subtle drama about old age and adapting to new dynamics of a decades-long marriage, backed by a superb performance by Julie Christie.
Dolan’s gift for melodramatic intensity slightly mellows here, but what comes out of it is a newfound sense of storytelling maturity.
A youthful and nuanced exploration of teenage sexual identity and emotional intimacy that freshly tries to skip past clichés.
Dolan’s pretty decent second feature is an inverted “Jules and Jim”-meets-Almodovar-type picture, showcasing his penchant for stylish and crisp filmmaking.
Self-indulgent yet showing maturity beyond his years, Dolan’s third feature draws top-notch performances from its leads and makes us feel the emotional and psychological complexities associated with being a transgender.
