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Weapons (2025)
After seventeen children from a single class mysteriously vanish in the dead of night, Weapons charts the fragmented, overlapping perspectives of the devastated community left behind, revealing its grief as a sprawling curse that Zach Cregger renders with sinister precision.
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There Was a Father (1942)
Chaos is simply not part of Yasujirō Ozu’s meditative cinematic language, and There Was a Father especially asserts his proclivity for ritualistic repetition in smoothing over emotional disruptions, recognising the remarkable legacy of one former teacher whose soul is deeply etched with tragedy, grief, and guilt.
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Brothers and Sisters of the Toda Family (1941)
When the patriarch of one affluent family is lost in Brothers and Sisters of the Toda Family, there is little left to hold its fragmented remains together, and Yasujirō Ozu exacts a cutting critique of those intimate bonds weakened by class privilege.
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Warfare (2025)
While Alex Garland brings procedural precision to Warfare’s depiction of an ill-fated military operation, Ray Mendoza draws on his own firsthand experience to imbue it with an immersive, tactile realism, mounting tension through the real-time evolution of its descent into chaos.
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The Only Son (1936)
The Tokyo that Ryōsuke moves to in The Only Son is not the bustling city of opportunity he once dreamed of, but a desolate wasteland of factories and smokestacks, underscoring Yasujirō Ozu’s tale of parental expectations and disappointments with the social realities of Depression-era Japan.
