An anomaly in Rohmer’s filmography, this beautiful if minimalist period costume drama about a woman who doesn’t know how she got pregnant feels like a stage exercise rather than an embracing, organic work.
Misplaced hate from the cancel culture mob aside, this debut film features superb performances from the kids, but as an exploration of the erosion of traditional values amid a culture of overt sexualisation, it doesn’t really go deep nor is it entirely convincing.
It’s not a terrific film but it’s still fun to watch the murder mystery unfold as Chabrol gives us the requisite atmosphere that balances humour with the macabre.
Haneke’s shocking work daringly dissects the nature of love, sexual desire, sadomasochism and power with a fierce intelligence that is matched only by arguably Isabelle Huppert’s finest ever performance.
Haneke’s attempt to find his singular voice in our modern, technological society feels uncannily familiar, though the film’s numerous themes don’t quite come across as typically succinct.
Another astonishing Haneke film that deals with psychological and philosophical depth the realities of old age.
This is Haneke in peak form—made up of more than forty vignettes shot in long takes that combine to give us a fragmentary sense of what it feels like to live in a multi-racial yet racist, technological yet incommunicable post-2000s world.
A shot-by-shot U.S. remake by Haneke himself of his earlier work, which might just challenge more viewers to tackle his singular filmography.
It doesn’t quite bring you to any substantive destination, but Haneke’s attempt at the dystopian apocalyptic drama tries to find compassion when there is absolutely none.
You won’t believe that a documentary centering entirely on a masked man with a notepad in a motel room can be so compelling—and harrowing—as Rosi gives us a shocking exposé on the inner workings of drug cartels in Mexico.
Eternality Tan 