Set near the border between South and North Korea, a young man named Lee Jong-su strikes up a romance with a girl. This was an excellent year for crime films—both in terms of quality and variety.
Starring Jonah Hill’s sister, this is like a much better, more diversely represented Superbad. Open my Guns. The Favourite offers rich, ribald, often lethally vicious period farce.”Composed entirely of hundreds of brief excerpts from other films, set to a narration, Beauvais’s found-footage work is a diaristic narrative that touches on a romantic breakup, the death of his father, world events and more, fusing personal crisis and global emergencies.This languorous James Baldwin adaptation is a lovingly observed story of two young people who come together in 1970s New York, before being torn apart by rough justice.“Jenkins – like so many beloved black filmmakers and black writers, including Baldwin, in his era – is often called upon to consider how white audiences might interpret narratives of black life. It means it’s a new ride for the viewer… People often ask me how I do the female gaze. In order to see this embed, you must give consent to Social Media cookies. Wu is an endearing lead, and Lopez’s charisma only seems to elevate her co-star rather than dwarf her.
“The screenwriters don’t so much reinvent the formula as refresh it, infusing some familiar situations with an exuberant, generous, matter-of-factly feminist sensibility,” says A.O. Here are some of the best . 0.
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©2020 British Film Institute. This is a movie about the fact that maybe we are our own worst enemy.” Jenkin’s brilliantly original, hand-cranked black-and-white 16mm feature debut centres on the tension between a Cornish fishing community and the holidaymakers gentrifying their village, and proved a commercial as well as a critical hit.“Somewhere within you, you have to believe that there will be an audience for your work, but the nature of the film industry is such that so many great films slip the net, so I feel incredibly blessed that it’s had the response that it’s had. In this installment, Wick has a $14 million price on his head and a massive gang of angry assassin types trying to kill him. In order to see this embed, you must give consent to Social Media cookies. She leaves to go travelling and returns with a richer more worldly boy, played by the Walking Dead’s Steven Yeun. It may feel whimsical and off-the-cuff, but this filmic collage is as carefully structured as the director’s other works. As ever, Varda is a great raconteur: as warm, witty and convivial as we have come to expect, with never a bad word to say about anyone. His follow-up does without the attics or ghosts – it’s a hallucinogenic folk-horror along the lines of The Wicker Man (1973). In order to see this embed, you must give consent to Social Media cookies. In order to see this embed, you must give consent to Social Media cookies. Fights with significant others so often dissolve into laughter when someone shouts something ridiculous, then melt back into unyielding fury in a few moments. Here are some of the bestAfter launching several scathing attacks on the Marvel movies, Martin Scorcese returns with his best picture for some time. A full review will appear in our next issue.An adaptation of Anna Seghers’s World War II novel, which shadows a runaway from the Third Reich in modern-day Marseille to conflate the continent’s moral failings past and present.“The unresolvable then-and-now perspective leaves us uncertain whether we’re watching a 1940s drama filmed without period illusionism, like a classic play in modern dress, or a parallel-world vision of the Europe we know – in light of which, Transit might be read as a dystopian warning of a future that, with the rise of the European right, could be approaching for much of the continent.”A Scandinavian folk fantasy that probes issues of identity through a twisted combination of procedural crime drama and animalistic romance.“Hugely inventive, barely categorisable… Border is a misfit in more ways than one: a story of characters trying to find their place in a world where they don’t seem to belong; a film that uses bizarre mythological or supernatural elements in a mundane modern-day setting; and a work that seems archetypally Scandinavian in its imagery and sensibility, although it’s made by an Iranian-born director.”The 28-year-old director’s extraordinary second film depicts the febrile friendship of two nursing women in a World War II Soviet hospice after the Siege of Leningrad.“While Beanpole’s subject matter is lacerating, and the film doesn’t exactly pull punches, Balagov’s mode is not miserabilist. Co-directed by former Aleppo resident and self-taught video journalist Waad al-Kateab with Emmy-winning filmmaker Edward Watts, it’s a first-person account of what it means to live smack-bang in the middle of an active war zone. Brie Larson nails the title role and it's great to see Samuel L. Jackson, skilfully de-aged for the 70s setting, getting a little more to do in a Marvel movie.
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