Confined to an emergency call centre, The Voice of Hind Rajab narrows in on the conversations between dispatch personnel and a young girl trapped in the Israeli assault on Gaza, using authentic audio recordings to anchor its dramatisation within a procedural, visceral reality.
Emerald Fennell was never going to convince those who reverently cling to Emily Brontë’s novel of its provocative potential, yet in her ravishingly grotesque vision of passion and obsession, Wuthering Heights lays bare two convulsive hearts responsible for their own primal, fevered torture.
The greatest films of the 1980s, from the end of New Hollywood to the rise of the modern blockbuster.
The middle part of Satyajit Ray’s coming-of-age trilogy lingers precariously between innocence and responsibility as Apu approaches adolescence, and through Aparajito’s passage between pastoral and city life, grapples with the irrevocable losses that make each small step towards maturity possible.
The kinetic choreography which fuses dance and combat in KPop Demon Hunters certainly impresses, yet music transcends spectacle in this vibrant, neon-soaked world of idols turned warriors, liberating performers and fans alike from those inner voices that gnaw at self-worth.
The greatest films of the 1970s, from the American New Wave to Europe’s existential surrealism.
Kleber Mendonça Filho sets a vast stage for the tense political drama of The Secret Agent, tracing one dissident’s attempts to outmanoeuvre Brazil’s military dictatorship in the 1970s, and studying historic expressions of grief and resistance distorted by its cruel, bureaucratic censorship.
Bi Gan’s metamodern autopsy of cinema may be elusive in its dreamlike passage through time, yet in becoming one of the medium’s most transcendent accomplishments in recent years, Resurrection enacts the intersection of art and reality as a transient, bittersweet exchange.
The greatest films of the 1960s, from the French New Wave to its subversive Spaghetti Westerns.
Table tennis superstar Marty Mauser is unlikeable a sports movie antihero as they come, and through Josh Safdie’s abrasive illustration of a self-serving quest for glory, Marty Supreme propels his morally dubious ventures forward on waves of frantic, pulsating momentum.
