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Caught Stealing (2025)
Loyalties flicker with slippery inconsistency in the grimy urban decay of Caught Stealing, as Darren Aronofsky drags one New York bartender into the city’s violent underbelly, and masks familiar genre tropes beneath a tone that is equal parts sardonic, kinetic, and unapologetically chaotic.
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A Hen in the Wind (1948)
Yasujirō Ozu offers nothing but sympathy for one helpless mother’s agonising moral compromise in A Hen in the Wind, imposing the harsh, destitute architecture of postwar Japan upon her shame, as well as her desperate attempt to seek marital reconciliation.
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Eddington (2025)
What initially begins as a portrait of masculine rivalry in Eddington gradually reveals a study in reactionary control, capturing a microcosm of America’s tumultuous political landscape in one rural town, and cynically submitting to Ari Aster’s combustible, existential chaos.
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Record of a Tenement Gentleman (1947)
While Japan emerges from the darkness of war in Record of a Tenement Gentleman, so too does one middle-aged widow discover an unexpected compassion in her hardened heart, as Yasujirō Ozu sets in motion a spiritual transformation with the arrival of a lost child on her doorstep.
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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.
