Reductively thought of as a ‘filmed opera’, Powell and Pressburger’s still underappreciated work of marvellous artifice and performative artistry tells of three tales of a poet who has no luck with the women he falls in love with.
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Reductively thought of as a ‘filmed opera’, Powell and Pressburger’s still underappreciated work of marvellous artifice and performative artistry tells of three tales of a poet who has no luck with the women he falls in love with.
Arnold’s first feature is post-9/11 cinema that teeters on the edge of the precipice, a brilliant mystery-thriller with dark shades of early Haneke as a CCTV operator chances upon a face that she least expects to see.
While at times vacuous, this Cronenberg picture is still intellectually stimulating, and most certainly one for the arthouse crowd.
Kaurismaki brings his unmistakable style—and gallows humour—to London as he teams up with French icon Jean-Pierre Leaud for a darkly comic take on one man’s desire to end his life.
Lanthimos delivers arguably his finest film to date with this erotic surrealist odyssey featuring Emma Stone in a truly stunning performance as a woman brought back to life by an eccentric scientist.
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.
One of Russell’s top-tier films, this sensual adaptation of D.H. Lawrence’s novel takes both lofty and earthy notions of ‘love’ into an ever-deepening spiral of psychosexual complications and provocations.
Superbly-executed battle scenes aside, there is something vacant in Scott’s unflattering treatment of one of France’s most infamous historical figures.
Skolimowski goes into Nicolas Roeg territory in this idyllic English countryside drama that turns into inexplicable psychological terror when a couple is disrupted by the presence of a mysterious man who knows Aboriginal magic.
Xenophobia is fought gallantly through empathy and solidarity with the marginalised as Syrian refugees find new homes in Northeast England, in Loach’s exceptional and emotionally-stirring swansong.