Linklater brings his ‘hangout’ cinema vibe to the French New Wave era, centering on Godard’s attempt to direct his first feature, in this breezy, blissful ‘comedy’ (for cinephiles at least) that is nostalgia-laden and wonderfully cast.
Peckinpah’s masterful final word on the Western, this elegiac piece, about a reluctant lawman hired to kill an outlaw who is a longtime friend, is a cat-and-mouse chase of an existential order, drawn out expertly as a cinema of delay and detour, as inertia begets inertia.
The first-ever feature made by a Black lesbian filmmaker, this deceptively smart auto-fictive engagement with the ‘absence’ of Black film history and personal identity asks us to recognise the voices that are missing in the age-old narratives that have come to pass.
A rapist released from prison hatches a nefarious plan to desecrate the family of the lawyer who ruined him in Scorsese’s disturbing and intense Hitchcockian take on vengeance, control and submission, a studio remake of the 1962 original.
PTA’s tour de force, operatic long-arc film not only sets a new tone for studio filmmaking but ‘bobbles’ with such incredible airtight momentum that it oscillates between absurdist comedy and high-stakes action-thriller with effortless ease, as a man is haunted by the consequences of his past political actions.
A reimagination of Oz through the lens of ‘70s New York, blending dazzling production design with soulful and disco-infused music, as an all-Black cast led by Diana Ross and a young Michael Jackson take center stage.
Hovering between introspection and narcissism, Allen channels Fellini’s ‘8½’ in this self-reflexive work that sees a filmmaker at his own retrospective wrestling with fans, fame and failed relationships, shot artfully by the great Gordon Willis.
This confirms Aster as one of America’s most provocative auteurs, as he uses a fictional town on the brink of the coronavirus to capture the post-2020 zeitgeist of rage-baiting politics, the toxicity of social media and post-truth nihilism, backed by a sensational turn by Joaquin Phoenix.
The US version features clunky news segments that spell out the spectacle, but when the two kaijus are pitted like pro-wrestlers with comical moves, the movie somewhat works on a childlike level with its reliance on rear projection and miniature toys.
Cox’s astonishing genre-bending masterpiece satirically and anachronistically lays bare the dark shadow of American imperialism across time, shot in Nicaragua during the Contra War, and featuring Ed Harris as 19th-century mercenary leader William Walker.
Eternality Tan 