Triet’s third feature suffers somewhat from haphazard editing as it tells a fragmentary story about a psychotherapist who finds renewed motivation as a writer as she becomes embroiled in the affairs of an aspiring actress.
Explicit unsimulated sex as an attraction aside, this is probably Noe’s worst film—too meandering, overlong and built around an annoying ‘inner thoughts’ voiceover that quickly becomes tiresome.
Seemingly existing outside of time, Rivette’s performative revenge tale featuring women pirates and sorceresses is one of his boldest experiments in film form, culminating in an occult-like finale of dancing bodies in trance.
Two celestial beings battle for a magical diamond in the underbelly of Paris in Rivette’s peculiar anti-fantasy, one that is drenched in a noir-ish atmosphere of shadowy interiors.
A French computer programmer attempts to create a game about WWII’s Battle of Okinawa but faces an existential crisis when history, memory and trauma become mediated by the throes of technological change in this spectral final feature documentary from one of cinema’s foremost experimenters.
Diop’s exceptional observational documentary about a French GP whose clinic is dedicated to serving refugees has tremendous emotional power, alongside its sobering insights on the vulnerability of the human condition.
A mother hopes to make amends with her daughter by cooking a special chicken dish in this striking French animation full of colours and vitality, set against the backdrop of a strike that has caused their town to come to a standstill.
This startlingly eye-opening documentary brings us deep into the human body, finding abstract beauty in its grotesque sights of tissue and organs, yet at the same time, it is also about the sounds of life and death—within and outside of bodies as surgeons chatter, equipment beep and hospitals bustle.
Chen’s third feature, shot in picturesque Greece with Cynthia Erivo, mostly works as a finely-drawn take on an unlikely friendship between a woman who fled her war-torn country and a somewhat passionless tour guide.
Kieslowski’s often overlooked middle installment of the famed trilogy may be one of his most mischievous if perverse films as a downtrodden, recently divorced Polish man plans an elaborate revenge plot against his French ex-wife.
Eternality Tan 