One of David Lean’s finest early works, this is a heartrending exploration of the joy and torment of an impossible love, as experienced giddily in a chance encounter by two strangers who are already married.
A tour de force of screenwriting, acting and editing, all based on a deceptively straightforward premise—a woman and her old father who is suffering from memory loss.
Beautiful but underwhelming, Francis Lee’s sophomore feature keeps emotions under the lid, and not always for the better.
At times utterly delirious but also engages with its theme of sexual assault and vengeance with a sobering kind of dynamism, Fennell’s debut feature mostly works despite some moments of overwrought sensationalism.
An inventive treatise on living and dying, and most important of all, of loving, as a legal trial in heaven decides the fate of an airman who is literally caught in an unprecedented life-and-death scenario.
One of the towering achievements of British cinema from one of the medium’s most formidable directing duos.
A ballet dancer is torn between romance and ambition in one of Powell and Pressburger’s most glorious and ravishing Technicolor triumphs.
Good but not great, this handsomely-mounted biopic about a Welsh journalist’s news-breaking report on the Ukrainian famine of the early ‘30s under Stalin is a welcome introduction to a murky and disturbing part of 20th-century history.
A disappointing effort by Korean auteur Park Chan-wook – an unfortunate case of too much style and too little substance.
Polanski’s Golden Berlin Bear winner traverses the territory of absurdist cinema in what is a sporadically engaging but sharp commentary on power plays associated with psychological sadism and the gender and classist pressures to conform.
