Looking at patriarchy and social norms in Kosovo in the wake of war,
the meditative pacing and sensitive direction of Blerta Basholli’s Hive allow it to be inspirational without moralising.
This trio of short stories approaches the heights of Happy Hour. It's also far more affecting and closely felt than Drive My Car, while clocking in at a comparatively slim two hours.
A good-looking, well-wrought, surprisingly snappy noir thriller not marred by the delusional exceptionalism that usually accompanies American movies about American atrocities.
Religion, colonialism, space-oil – this is big and serious stuff. And while Denis Villeneuve could never be accused of being too ironic, in Dune his earnestness finally works.
The synopsis makes it sound like an arthouse parody of John Wick – but Pig is also a serious and meditative film about our relation to food, grief and each other.
Heavy metal, pin-drop silence and everything in between scores
Darius Marder’s story of a broken man learning to adapt to a new and
uncomfortable way of life.
In Andy Goddard’s 2016 adaptation, the precarious line between fantasy and reality is explored within a murky landscape of moral ambiguity in small-town Texas.
Director Brian Song explores love and grief through the story of a largely-unknown 1979 plane crash, which decimated Uzbekistan’s FC Pakhtakor Tashkent.
The “unfortunately necessary sequel” doc to 2003’s The Corporation skewers modern forms of colonialism, looking at how the face of big business has changed – but behaviours haven’t.
