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Distant Voices, Still Lives (1988)
Memories flow like water in Distance Voices, Still Lives, seamlessly gliding from one to the next through intuitive connections and poetic tangents, bringing a photo book quality to Terence Davies’ nostalgic ode to the love and struggles of his old-fashioned, working-class family.
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A Touch of Sin (2013)
Four loosely connected episodes of violence based on real Chinese news stories come together in a Touch of Sin to sketch out a landscape of anger and frustration, as Jia Zhangke pushes the boundaries of his usual neo-realistic style until they start to overlap with traditional crime thriller conventions.
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Sátántangó (1994)
In Sátántangó’s destitute Hungarian village of dilapidated buildings and free-roaming farm animals, a Messiah figure seemingly returns from the dead, and Béla Tarr crafts a devastatingly bleak, suffocatingly drab, and completely mesmerising landscape of spiritual deficiency.
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Don’t Look Now (1973)
The layers of subtext and symbolism that flow through Don’t Look Now may take multiple viewings to fully appreciate, but in Nicolas Roeg’s fluid editing which swirls between cryptic images of blood, churches, water, and grotesque representations of death, its feverish atmosphere takes hold, haunting us with the ghosts of events that have already taken…
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Bride of Frankenstein (1935)
James Whale steps up the subtext, camp theatrics, and Gothic aesthetic in his sequel, Bride of Frankenstein, delivering not just a lynchpin of horror cinema, but a piece of film that feels even truer to his own humanistic and dramatic sensibilities.
