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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.
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There Was a Father (1942)
Chaos is simply not part of Yasujirō Ozu’s meditative cinematic language, and There Was a Father especially asserts his proclivity for ritualistic repetition in smoothing over emotional disruptions, recognising the remarkable legacy of one former teacher whose soul is deeply etched with tragedy, grief, and guilt.
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Brothers and Sisters of the Toda Family (1941)
When the patriarch of one affluent family is lost in Brothers and Sisters of the Toda Family, there is little left to hold its fragmented remains together, and Yasujirō Ozu exacts a cutting critique of those intimate bonds weakened by class privilege.
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Warfare (2025)
While Alex Garland brings procedural precision to Warfare’s depiction of an ill-fated military operation, Ray Mendoza draws on his own firsthand experience to imbue it with an immersive, tactile realism, mounting tension through the real-time evolution of its descent into chaos.
