Marker’s legendary work, comprised of a montage of still photographs with narration, is not just one of cinema’s most famous shorts, but a thought-provoking look at the impossibility of escaping the claws of time.
Sandrine Bonnaire announces herself as one of French cinema’s most compelling actresses in what could be one of Pialat’s most beloved works, which charts the sexual awakening of a teenage girl living with her dysfunctional family.
An endlessly looping piece of cheerful island music envelopes and provides a counterpoint to Duras’ melancholic conversational piece between two women as they reflect on a marriage in tatters.
One of Marker’s defining works about time and memory, this is an experimental documentary of the highest order, capturing the wonder and bizarreness of human cultures and existence amid technological change.
In Schanelec’s under-appreciated slow cinema oeuvre, this could be one of her ‘noisiest’ and most perceptive works as we become privy to the intimate conversations of several groups of strangers who are waiting to depart at the busy Paris-Orly airport.
A somewhat oblique and unconventional courtroom drama about the intersections of legality, spectres of neocolonialism and the plight of immigrant mothers which will require some patience, but Diop shows that she is not afraid to take narrative and stylistic risks.
Indescribably a unique, moving experience in this simple yet unconventional tale from one of cinema’s masters of masters.
Bresson’s work throws genre and filmmaking conventions out of the window, but thoroughly elevates our soul by the end of this masterful exercise.
One of the greatest ‘prison escape’ films of all-time, masterfully constructed through the sharp and precise cinematic techniques of the incomparable Bresson.
A man is accused of being a paedophilic killer in Chabrol’s effortlessly-mounted small-town crime mystery, shot with breezy naturalism by the acclaimed cinematographer Eduardo Serra.
