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2018 in Cinema
Alfonso Cuarón cements his status as an all-time great director with a black-and-white memory piece, Ari Aster takes the horror genre to a new level with fresh artistic sensibilities, and a hyper-kinetic animation deconstructs decades of superhero stories.
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Ikiru (1952)
A direct translation of Ikiru to English is ‘To Live’, and it is in formally binding one dying bureaucrat’s revitalisation closely to this ideal that Akira Kurosawa gracefully transforms his existential study of mortality into an introspective consideration of life’s intrinsic purpose, infusing this profound spiritual journey with melancholy visual detail.
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A Lesson in Love (1954)
A Lesson in Love is an impressive display of comic versatility for a relatively minor Ingmar Bergman film, sending his sober marital drama crashing into idiosyncratic foibles where screwball humour, sophisticated wit, and savage feuds intermingle.
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2017 in Cinema
Christopher Nolan shakes up the war genre with his tremendous editing, Denis Villeneuve astoundingly builds on a decades-old classic with a phenomenal sequel, and Paul Schrader’s theological character study features Ethan Hawke in a self-destructive spiral.
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Women Talking (2022)
The discovery of a horrific secret within the isolated Mennonite colony of Women Talking leaves some difficult decisions to be made by its female population, and through Sarah Polley’s bleak yet sensitive direction, she transforms it into a nuanced allegory of patriarchal exploitation at large, pushing it to a terrifying, unpredictable tipping point.
