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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.
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Roman Holiday (1953)
In turning Rome’s architecture and geography into a living, breathing environment in Roman Holiday, William Wyler crafts a romantic adventure for newspaperman Joe and runaway princess Ann, and offers Audrey Hepburn a perfectly charming setting for displays of natural magnetism that carry entire scenes.
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The Card Counter (2021)
Though sin has implanted itself firmly in the soul of gambler William Tell, his attempts to soften its impact by putting up physical and emotional barriers between him and his environment points towards a deep complexity in his character, as Paul Schrader turns The Card Counter into a masterfully rigorous study of regret, self-discipline, and…
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Squid Game (2021)
In building out its characters in rich enough detail that both thrilling set pieces and quieter moments of drama are able to operate on equally gripping levels of tension, Squid Game forms a layered microcosm of cruel, barbaric capitalism in South Korea.
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M (1931)
More than just its dark, perverted subject matter, M remains a provocative film in Fritz Lang’s masterful use of subtext and signifiers to understand the mind of a reprehensible child killer, thus becoming one of the key cornerstones of German Expressionism.
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The Power of the Dog (2021)
Within the mesmerising power plays between ranchers, mothers, and sons of The Power of the Dog, Jane Campion paints out duelling images of the Old West, neither of which clash in violent shootouts so much as they quietly manipulate each other according to their own visions of America’s future.
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The French Dispatch (2021)
Never has Wes Anderson tied his ethos as a storyteller so closely to characters who similarly wish to offer a jaded world their fresh insights into its unique, distinctive beauty, as here in The French Dispatch he serves up an enchanting, episodic dedication to the passion and nostalgia of old-fashioned print journalists.
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24 City (2008)
Jia Zhangke remains as engaged in the globalisation of industrial China as ever with his foray into documentary filmmaking, as 24 City’s experimental blend of authentic and scripted interviews suggest a shift into an uncertain, postmodern future where luxurious, high-rise apartments displace tight-knit working communities.
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Detective Story (1951)
As Detective Jim McLeod’s personal and professional worlds collide in the web of narrative threads that emerge over the course of one day inside a police station, Wyler’s deep focus staging of his cast brings layers of both visual and subtextual significance to Detective Story, turning it into a character study of an unforgiving, unsalvageable…
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A Clockwork Orange (1971)
It is from Stanley Kubrick’s uncomfortable philosophical questions regarding free will and sin that his inspired, repulsive aesthetic of nude sculptures and phallic symbols explodes outwards, marking the dystopian British society of A Clockwork Orange as one which has fallen prey to its pleasure-seeking impulses.
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Dune (2021)
Denis Villeneuve succeeds in giving Frank Herbert’s epic space opera Dune the cinematic treatment on a grand scale, digging into its Greek mythological archetypes as a compelling canvas upon which he intricately paints out awe-inspiring civilisations, landscapes, and worlds of historic and futuristic significance.
