A cautionary tale with impressive world-building, Szulkin’s totalitarian mini-universe on the verge of anarchy—or annihilation—is set in the aftermath of a nuclear holocaust as people are holed up in a crumbling dome.
Featuring an exceptional performance by Kieran Culkin, Eisenberg writes, produces, directs and stars in this unassuming comedy-drama that was shot primarily in Poland, about two incompatible Jewish cousins on a Holocaust tour to remember their late grandmother.
Szulkin’s work of political resistance calls to attention what it feels like to be fed propaganda 24/7, in this artsy sci-fi picture about a newscaster forced by the authorities to stick to their script of welcoming the mysterious aliens.
We can already witness a crystalline vision in Zanussi’s debut feature as he gives us an existential take on what makes one continue to live the life that one now lives, as two physicist friends deliberate on their vastly different life paths.
A polished but disturbing period film with a ‘modern’ sound design, set in the years after WWI in Copenhagen, as an unemployed and pregnant young woman seeks refuge with an older woman who operates a clandestine baby adoption service.
One of Zanussi’s most radical and playful offerings as his protagonist, a physicist, attempts to put faith in science to explain human existence and matters of life and death.
One of the most chillingly unique Holocaust films in decades, Glazer’s cold and calculated take on human complicity in enabling atrocities is told from the perspective of a high-ranking Nazi officer raising his family in a luxurious compound built right next to a concentration camp in Auschwitz.
A young Polish man living with his dying mother harbours dreams of scaling the Himalayas but has to face rampant corruption at his workplace in Zanussi’s character study of a person caught in the two worlds of morality and mortality.
Holland’s finest work in a while and one that incurred the wrath of the Polish government, this politically sharp and urgent piece about refugees that get pushed about at the border between Poland and Belarus is complex and shot soberingly in black-and-white.
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 