Young Mothers [2025]

 Teenagers struggling to break free from the vicious cycle of marginalized existence, abandonment and abuse – a recurrent theme in the Dardenne brothers’ films – formed the underlying premise in their tender, poignant, compassionate and delicately weaved portrayal of teenage motherhood in Young Mothers. Marking a terrific return to form after a couple of strained efforts for the septuagenarian brothers – two years shy of completing 50 years of co-directing films – it emphatically underlined the radical empathy, bleak social realism and spare, documentary-style form that the Belgian duo has been identified with since their international breakout with the unforgettable La Promesse 3 decades back, while expanding their palette through a hyperlink film that traversed between the interweaved stories of four working-class teenagers housed in a state-run shelter in Liège. Soon-to-be-mother Jessica (Babette Verbeek), having always struggled with abandonment, is desperately seeking to establish contact with her biological mother (India Hair); Ariane (Janaïna Halloy Fokan), meanwhile, has an extremely complicated relationship with her volatile mom (Christelle Cornil), a recovering alcoholic who was in a toxic affair, and consequently wants to give up her baby for adoption to a grounded middle-class couple; the increasingly agitated Perla (Lucie Laruelle) wishes in futility to have a conventional life with the distant father of their child fresh out of institutionalization; former drug addict Julia (Elsa Houben), on the other hand, has a loving boyfriend and is on the verge of making it if only she can avoid sliding back. Ariana’s story stood out as the most complex and heartbreaking in these edgy, moving and outstandingly performed tales bereft of any moral grandstanding or contrivances, and where harsh socioeconomic realities fiercely combat for hope (howsoever fleeting and tenuous).

Directors: Jean-Pierre & Luc Dardenne

Genre: Drama/Social Drama/Urban Drama

Language: French

Country: Belgium

Kontinental '25 [2025]

 Coming on the back of his two provocative and coruscating stunners Bad Luck Banging or Loony Porn and Do Not Expect Too Much from the End of the World, Kontinental ’25 felt decidedly contemplative in comparison, even if a relatively toned-down Radu Jude film too leaves one with a pungent aftertaste through cutting satire, caustic jabs and gallows humour. This was a sharp assault – carried out using a disarmingly gentle-looking scalpel – on the crushing and callous apathy of post-Communist, neoliberal Romania, marked by dismantling of social safety nets for the marginalized and vulnerable, escalating housing crises, rabid gentrification, toxic ethno-nationalism, and perhaps most ironically, the outsourcing of guilt. The film’s deliberately cheesy protagonist, Orsolya (Eszter Tompa), a bailiff of Hungarian ethnicity, evicts a homeless man (Gabriel Spahiu) – displaying disingenuous sympathy while arriving with intimidating bouncer-cops – from the unused boiler room of a building that’s set to be turned into a boutique hotel by a German company. That, tragically, incites the man into committing suicide, and as a result she’s plagued by a heavy outpouring of guilt, which she sobbingly unloads – over a series of deadpan conversations – onto her husband, boss, friend, mom, punkish former student, and priest, while also clarifying each tine that she wasn’t legally culpable. Jude’s scalding portrayal of inbred racism was nonpartisan; Orsolya’s cantankerous mom curses Romanians for stealing Transylvania from Hungary and for being lazy, while her Romanian husband chuckle while reading through the brazenly bigoted trolling in social media targeting her ethnicity. The film, incidentally, opened with a 20-minute near-wordless montage where we follow the soon-to-be-dead “non-person” through the city, while scoffing at the over-abundance of urban kitsch, from robot dogs to plastic dinosaurs.

Director: Radu Jude

Genre: Black Comedy/Social Satire

Language: Romanian/Hungarian

Country: Romania

Resurrection [2025]

Resurrection – Bi Gan’s return 7 years after his hypnotic last film Long Day’s Journey into Night – was as much a work of epic thematic preoccupations and stylistic ambitions, as a mind-bending, hallucinogenic and baffling exercise. Euphoric in its formal audacity, and melancholic in its tone, this elegy to cinema was a classic example of a work that dazzles with its visual splendour and scale – especially in how it glides across diverse filmmaking eras and genres, and serves as a successor to Méliès and Lynch – but also exasperates by its elaborate fantasies, flamboyant flourishes and metaphor-filled conceit. Its premise is an alternate world where humanity has sacrificed dreams to live forever. “Deliriants”, consequently, exist as an anachronism, as they secretly dream, thereby gradually withering away by refusing to conform. Sandwiched between a prologue made as an expressionist, sci-fi, silent film revealing a grotesque and dying “deliriant” that’s an embodiment of movies, and an epilogue mourning its death and culminating with “fin de cinéma”, were four compulsively staged dreams. The convoluted first dream was a 1940s noir and espionage thriller about a tormented musician on the run in sin city; the bleakly beautiful second dream, shot in wintry images, was focused on a lost monk in a derelict monastery haunted by his dead father’s ghost; in the picaresque third dream, a con artist takes an orphan girl under his wings to swindle an ageing mob boss; and in the pulsating final dream – spectacularly filmed in a single take and techno colours, thus recalling his previous feature – a self-destructive hoodlum falls for a mysterious girl employed by a violent gangster. Jackson Yee played the mythical “deliriant” as well as its four manifestations.

Director: Bi Gan

Genre: Drama/Sci-Fi/Thriller/Mystery/Experimental Film

Language: Mandarin

Country: China

The Mastermind [2025]

 Kelly Reichardt’s minimalist “anti-genre” exercises – subversion of genre trappings, prioritizing inaction over actions, and leaving cine-goers without conventional payoffs – have produced anti-road movies (Wendy and Lucy, Certain Women), anti-Westerns (Meek’s Cutoff, First Cow), anti-political/legal thrillers (Night Moves, Certain Women), and anti-relationship/domestic dramas (Certain Women, Showing Up). She’s now made an absorbing anti-heist film with the beguiling and captivating The Mastermind. On that note, it recalled two other marvellous recent films – Rodrigo Moreno’s The Delinquents (especially how they glided through mischievous non-sequiturs) and Alice Rohrwacher’s La Chimera (both starred Josh O’Connor as roguish art thieves, though the similarities in their characters ended there). The protagonist here may well be the world’s worst art thief, giving a deliberately ironic ring to the film’s hyperbolic title. Aimless, unemployed, emotionally stunted, financially dependent on his well-off parents and working wife, and once considered very promising, JB (O’Connor) is the quintessential drifter. The Massachusetts resident hatches a foolhardy plot to steal four paintings – tellingly, by the American abstract painter Arthur Dove, thereby demonstrating his intellectual superiority over his material stupidity – by borrowing money from his mom, employing fellow losers and with no follow-through or backup plans. Significant portions of the film delved into the aftermaths of the robbery, as things go south right-away and JB is forced to go on the lam. The terrific jazz score complemented the improvisational form, and O’Connor embodied his character’s aloof, self-serving, hangdog charm, untouched by the era he’s living in, viz. the 1970s, anti-Vietnam War protests and counter-culture movements. The zeitgeist, incidentally, existed in the edges, bleeding in through the brilliant diagetic soundscape (TV programmes, radio bulletins, people speaking in the backgrounds), until JB inadvertently walks into it.

Director: Kelly Reichardt

Genre: Crime Drama/Heist Film/Road Movie

Language: English

Country: US

The Voice of Hind Rajab [2025]

 On 29^th January 2024, Hind Rajab, a 5-year-old Palestinian girl, was killed in Gaza by the Israeli Defence Forces. Six of her family members – uncle, aunt and four cousins – were earlier killed, leaving the little girl stranded, while two paramedics were also killed upon trying to rescue her. This massacre, which became a harrowing reminder of the ensuing genocide, and the desperate but ultimately futile rescue attempts by the Palestine Red Crescent Society from their West Bank headquarters, formed the subject of the deeply discomfiting docudrama The Voice of Hind Rajab. Tunisian filmmaker Kaouther Ben Hania, in her previous work Four Daughters, had blended documentary and performative elements into a stunning hybrid film, and she went for a similarly bold formal gamble here. She set it entirely in the humanitarian organization’s office, featuring dramatization of the actual individuals involved in remotely leading the rescue efforts, and used the actual recordings of the little girl’s voice – helpless, confused, afraid and too young to fully comprehend this horrendous scenario – to lend authenticity to the proceedings. While the adults in the room – call centre worker Omar (Motaz Malhees); his supervisor Rana (Saja Kilani); Mahdi (Amer Hlehel), who’s responsible for coordinating with the authorities and paramedics; and Nisreen (Clara Khoury), who provides counselling to the traumatized employees – battle through the night, their emotionally fraught conversations shot in near-real-time – that portrayed the extreme psychological toll and bordered on histrionics – made for an unsettling contrast to the actual voice of the deceased kid. This counterbalancing between commentaries on the war crime and staged verisimilitude – and reducing the girl to just an anchoring voice – was an ethically fraught choice, even if it was a distressing watch.

Director: Kaouther Ben Hania

Genre: Drama/Docudrama/War

Language: Arabic

Country: Tunisia

Sirāt [2025]

 Óliver Laxe’s existential road movie Sirāt was both an unconventional film and a film made unconventionally. Combining the hellish journey of outsiders with nothing to lose (except their lives) in Clouzot’s Wages of Fear – or perhaps more appropriately, due to their tonal likeness, Friedkin’s remake Sorcerer – and the dystopian, post-apocalyptic landscapes of Mad Max, with the monomaniac quest of a father for his daughter who’s switched sides with the “philistines”, so to speak, in Ford’s The Searchers, it formed an elemental and sensorial experience. The latter aspect was heightened by its hyper-saturated realism, a visceral audiovisual palette counterpointing a stripped-down narrative, and its embracing of a techno-trance world where music is for dancing rather than listening to. Set in the harsh and visually stunning deserts of southern Morocco – captured through electrifying cinematography and accompanied by a pulsating electronic score – its primal setup followed Luis (Sergi López), a middle-aged man who, along with his adolescent son Esteban, joins a subaltern group of nomadic misfits residing outside societal boundaries – and whose raison d'être is to reach transcendence through hallucinogenic music and drugs – in search of his missing daughter. They meet at a throbbing rave held in the desert, and when that’s dismantled by the cops, they embark on a crazy ride that evolves from thrilling and immersive to tragic and shocking, to reach another illegal rave – Luis, hoping to locate his daughter, and the eccentric gang for music that never ends. This was, therefore, a story that begins in media res and ends just as abruptly, and the arbitrary violence, meaninglessness and breakdown of civilization that they encounter served as proxy to the third world war that blazes outside the frames.

Director: Oliver Laxe

Genre: Psychological Thriller/Neo-Western/Road Movie/Adventure/Epic

Language: Spanish/French/Arabic

Country: Spain

No Other Choice [2025]

 Park Chan-wook’s filmography is replete with wickedly feral killers who complement method with madness. No Other Choice’s anti-hero, conversely, was ridiculously inept at murder despite being naturally drawn to it, thus making this an interesting entry in his canon. Adapted from Donald Westlake’s novel The Axe – previously adapted by Costa-Gavras, and which Park had wanted to make since long – it drips with liberal doses of farce, satire, cutting humour, chaotic violence, and an exceptionally jaundiced view of a broken, hyper-capitalist society. Man-su (Lee Byung-hun) – a veteran in the paper industry who’s loyally been with the same organization for twenty-five years – is a model citizen with a beautiful wife (Son Ye-jin), an ancestral home that he’s painstakingly reinstated, and heteronormative ideals. His amusingly bland life comes crashing down when, upon a takeover by Americans relentlessly driven by automation and efficiency, he – along with many others – are summarily “axed”. The new bosses supposedly have no other choice, and in turn Man-su becomes convinced that he too has none but to bump off his competition – former colleagues similarly struggling with crushing unemployment – to secure a prized job opening. In another movie, he would’ve been the wronged guy forced by desperate circumstances; however, in Park’s world of controlled malice and moral dystopia, Man-su – like his bosses – always had other choices that were nullified by his class trappings and “killer instincts”, while “cut-throat” competition conveniently justify murderous ends. Powered by a compelling turn by Lee (reuniting with Park twenty-five years after Joint Security Area), a fine supporting act by Son, and Park’s love for gorgeous and meticulously designed visuals, the film was sad, crazy, grisly, bitter and funny, despite its deliberate silliness and excesses.

Director: Park Chan-wook

Genre: Black Comedy/Social Satire/Crime Thriller

Language: Korean

Country: South Korean

The Secret Agent [2025]

 The Secret Agent is intimately linked to Kleber Mendonça Filho’s filmography – fondness for B-movies and old theatres, novelistic approach and meandering conversations underlined by subversive political subtexts, setting in Recife – while its ambitious narrative construct and period backdrop provided fascinating departures. This roguish, genre-bending and engrossing political thriller – crafted with aplomb and mischief, alternately devilish and melancholic, and interjected with deadpan humour and hilarious schlock – is situated in 1977, during Brazil’s repressive military dictatorship. Armando (Wagner Moura), widower and academic blacklisted for his political leanings, returns to his hometown using an alias to reunite with his young son and emigrate. He’s hosted by the vivacious, diminutive, chain-smoking Dona Sebastiana (Tânia Maria), a retired anarcho-communist and antifascist partisan who provides refuge to political dissidents in her lively apartment building; he finds employment at an archival centre, for cover and hoping to find his vanished mother; and he’s aided by a resistance network who he meets at a movie theatre run by his kindly father-in-law, while a vengeful industrialist has engaged lethal father-son hitman pair – who in turn subcontract it to a vicious lumpen – to kill him. Meanwhile, an oafish cop (Robério Diógenes) harasses people for fun; sleazy newspaper stories about a “murderous hairy leg” have sparked public hysteria; revelries at the ongoing carnival provide an ominous counterpoint to the atmosphere of dread, paranoia and terror; and a young history student (Laura Lufési) in the present day is moved by Armando’s story while piecing together archival material on the dictatorship. Gorgeously mounted in sunny visuals and anchored by Moura’s magnificent turn, this unfolded into a smouldering and multi-layered meditation on political and cultural memory, pointlessness of violence, and passage of time.

Director: Kleber Mendonca Filho

Genre: Thriller/Political Thriller

Language: Portuguese

Country: Brazil

Miroirs No. 3 [2025]

 Miroirs No. 3, with its beguiling set-up, eerily tranquil tone with an underlying disquietude that gently builds, disarming and economical narrative that defies complex people and themes, and exploration of identity and memory, was immediately recognizable as a Christian Petzold film. The recurrence of automobile accidents in his filmography, and his sparing use of haunting, off-kilter music, were also present. It channelled two of his films in particular – the sunny, rustic setting and an understated human story that evolves through stray, low-key interactions reminded me heavily of his ravishing last film Afire; however, the one that it formed the closest companion piece to was his unnerving earlier film Yella, as both featured what can perhaps be called “hyperreal/quasi ghost stories”. Like the latter film, this too begun with a shocking road accident; while her partner, with whom her relationship was already faltering, instantly dies, Laura (Paula Beer), the emotionally drifting heroine and music student, emerges largely unscathed from it. She’s provided accommodation by Betty (Barbara Auer), a kindly older woman with whom Laura had fleeting eye contacts earlier and whose house is located adjacent to the accident site, and they promptly settle into a peaceful domestic routine – cooking, painting fences, grocery shopping, having coffee, etc. Betty, unbeknownst to Laura, harbours a past trauma, and that – along with what catalysed this bond – starts surfacing when Betty’s husband (Matthias Brandt) and son (Enno Trebs), both expert car mechanics and seemingly estranged from her, arrive in the scene. Classical and pop tracks delightfully featured in the diagetic score of this work marked by a lovely interplay between being restrained and emotionally charged. The performances, led by the two women, were particularly remarkable.

Director: Christian Petzold

Genre: Drama/Psychological Drama

Language: German

Country: Germany

The Conversation [1974]

 Right from its bravura opening sequence – shot in grainy analogue and single-take using a telephoto lens which slowly zooms in from high-up, starting with a crowded scene bursting with activities and ending by focussing on Gene Hackman’s central protagonist – The Conversation announced itself as a thrilling work of its time. Much-sought-after surveillance expert and professional eavesdropper Harry Caul, ironically contrary to his vocation, is fiercely protective of his anonymity and privacy, while his drab and banal existence – he lives alone in a stripped-down apartment, spends his free time playing on the sax to jazz music, and never lets off his emotional guard – sharply contrasted his professional brilliance, adroitness with state-of-the-art technology and bespoke innovations. His latest assignment – employed by the Director of a shady organization and his sinister assistant (Harrison Ford) – involves snooping on a couple, through intricate planning and triangulations, while they amble around San Francisco’s Union Square. While extracting their conversation from the ambient noise, he becomes convinced that their lives are in danger, and his extreme anxieties, catalyzed by his severe guilt from a past job and repressed childhood memories, precipitate his devastating psychological meltdown. Made between The Godfather and The Godfather Part II, Francis Ford Coppola crafted this riveting, low-key, chilling and magnificent exploration of seething paranoia, personal demons, and moral conflicts – and an exercise in melancholy in a minor key – that remains a high watermark for political conspiracy thrillers. Hackman was electrifying in conveying Harry’s complex contradictions, obsessions and unravelling, while the surveillance trade fair that he attends – followed by vulgar one-upmanship by a jealous professional rival and a rare night of hedonism, intimacy and betrayal – amplified the film’s caustic commentaries and haunting prescience.

p.s. This is a revisit. My earlier review can be found here.

Director: Francis Ford Coppola

Genre: Thriller/Political Thriller/Conspiracy Thriller

Language: English

Country: US

I… for Icarus [1979]

 JFK’s assassination has formed a recurring thread within political conspiracy thrillers, while among French left-wing political cinema in particular, films starring Yves Montand represented a sub-genre in itself. Directed by Henri Verneuil, best known internationally for the stylistic crime movie The Sicilian Clan, I… for Icarus ticked both boxes. Beginning with the cheekily framed disclaimer, “this story is entirely true since I’ve imagined it from start to finish”, this captivating, fatalist and irony-laden interpretation of the intrigue behind the American President’s death provided a delectably cynical expression of how, in modern nation-states, “truth” is diffused under convenient falsehoods, and that curiosity can have fatal consequences. Set in an unnamed country, a fearless, non-conformist President keen on challenging the status quo is shot dead, and the commission investigating into it returns with the verdict that it was the act of a lone assassin. Senior prosecutor Henri Volney (Montand), however, dissents the commission’s finding, and as a result is given the responsibility for leading a fresh inquiry. As he starts digging along with his team, he finds a continuously repeating pattern of ignoring, suppressing, bending and tampering with evidences, the disturbing discovery that multiple witnesses have been liquidated, and the growing realization that shadowy forces and senior state operatives are behind the conspiracy. Montand brought in his customary blend of charisma, intelligence and weariness in this film laced with distinctive French sensibilities and accompanied by Ennio Morricone’s riveting, self-reflexively used score. In an unsettling aside, the “Milgram obedience experience” is recreated, underscoring how, as Volney summarizes, “even in a country that’s civilized, democratic and liberal, two-thirds of the population are capable of carrying out any order coming from a higher authority.”

Director: Henri Verneuil

Genre: Thriller/Political Thriller/Conspiracy Thriller

Language: French

Country: France

Umberto D. [1952]

 Umberto D. – Italian Neorealist movement’s final definitive film and Vittorio De Sica’s personal favourite – alternated between extreme desolation and sentimentalist tendencies. The former led to it being attacked by the then conservative government for demeaning Italy’s image abroad, and was rejected by domestic viewers who wanted to ignore their plights for rosier images. The latter, conversely, has slightly diluted the film’s standing today in some quarters. To the remarkable credit of De Sica and his frequent collaborator, the great screenwriter Cesare Zavattini, it continues to remain a revered classic for its eloquent invocation of their conception of “collective actions” – viz. how “no story is ever truly individual” – as the primary lens for neorealism. Tellingly, therefore, it begins with a street demonstration – strikingly shot by G. R. Aldo as if straight out of a newsreel – of retired elderly men, demanding a raise in their pensions. As their protest gets broken with utter apathy by the cops, Umberto Domenico Ferrari (septuagenarian Carlo Battisti in his first and only role), emerges from the crowd of bitter, hapless men as one out of many. A former civil servant having to live a life of penury and indignity on account of his measly pension and mounting debts, he’s on the verge of being evicted from his accommodation by his cold-hearted landlady for overdue rent. Umberto is profoundly attached to his dog Flike, and makes a rare human connect with a sympathetic maid (Maria-Pia Casilio), in a world that has discarded compassion, empathy and human decency as meaningless liabilities. Despite the occasional propensity for titillating the tear-buds, the film tackled its bleak themes – societal indifference, loneliness, suicidal impulses – with equanimity, immediacy, irony and deep humanism.

Director: Vittorio De Sica

Genre: Drama/Urban Drama

Language: Italian

Country: Italy

Bicycle Thieves (Ladri di Biciclette) [1948]

 Visconti pioneered neorealist cinema and Rossellini took it to exalted heights; but it was Vittorio De Sica who gave this profoundly influential movement – that redefined a filmmaker’s gaze by foregrounding it on gritty, authentic stories of working-class struggles, shorn of artifice and embellishments – arguably its most emblematic monument with Bicycle Thieves. It was remarkable when it was made in 1948, for its vivid portrayal of post-war Italian society – plagued by poverty, unemployment, corruption and disillusionment – through understated and deceptively unassuming brushstrokes; that it has retained its modernity and impact even seven decades later reconfirms its enduring legacy. This was the quietly devastating story of Antonio (Lamberto Maggiorani), a simple and impoverished man, whose life takes a hopeful turn when he lands the job of pasting advertisement bills, and his wife (Lianella Carell) gets his bicycle – a prerequisite for the profession – released from the pawnshop. His luck, however, promptly takes a nosedive when the cycle gets stolen while he’s busy affixing the poster of a Rita Hayworth movie. The remaining film captured his desperate and futile search, with his son Bruno in tow. During his Roman odyssey, co-written by Cesare Zavattini from a Luigi Bartolini novel, he visits the city’s black market, finds himself in a church as well as a brothel, ambles through thoroughfares and alleys, walks by piazzas and the riverfront, visits a fancy restaurant, and ends up in a rough neighbourhood; shot on location with throbbing immediacy, this was, consequently, a great city symphony too. Along the way he encounters camaraderie and empathy, hostility and hopelessness, and a society in a complex state of flux, with Antonio’s existence both persuasively standing out and eloquently representing the collective.

p.s. This is a revisit. My earlier review of this film can be found here.

Director: Vittorio De Sica

Genre: Drama/Urban Drama

Language: Italian

Country: Italy

Distant Voices, Still Lives [1988]

 British filmmaker Terence Davies’ feature-length debut, Distant Voices, Still Lives, continuously switched between bitter, mournful memories and gregarious displays of life in the here and now, and between private and public spaces. These intersecting aspects, along with Davies’ decision to replace linear recounting with a heavily impressionistic approach, instilled this heavily autobiographical film with formal rigour and poetic realism that were curiously at odds with its mythologizing of war-time and post-war working-class Britain and splashes of melodrama. Incidentally, this was two shorts rolled into one considering that its two interconnected halves “Distant Voices” and “Still Lives” were filmed two years apart and made with different crews, albeit with the same set of actors. It’s foregrounded on a Liverpudlian family – a stoic mother (Freda Dowie), two daughters (Angela Walsh and Lorraine Ashbourne) and son (Dean Williams) – that lived under the scarring shadows of an abusive and violent patriarch (Pete Postlethwaite), and continues to bear that trauma even after his death, which formed a pivotal juncture for them and divided their lives into a before and an after. Their oppressive interiority within their dreary, cramped home was frequently alternated with moments spent with friends and family in taverns and public houses, drinking beer and breaking into popular songs of that time. The communal power of music, in fact, formed a key theme. The cinematography, with its washed-out and desaturated colours, exquisitely evoked a lost time and space that exists through the subjective prism of memories, while the long, gently panning shots captured the calm and the chaos. The mannered acting and lack of any redeeming qualities of the brutish father, fleeting displays of gentleness notwithstanding, marginally dampened this deeply personal work.

Director: Terence Davies

Genre: Drama/Family Drama/Musical/Coming-of-Age

Language: English

Country: UK

The Long Farewell [1971]

 Iconoclastic feminist filmmaker Kira Muratova’s second solo directorial endeavour, The Long Farewell, was a daring, dazzling, hypnotic and radically experimental work that was informed as much by the Soviet montage theory of Eisenstein and Dziga Vertov as Godard’s love for playfully shattering the conventional inter-relationships between audio and visual grammars. Thus, while her previous film Brief Encounters – the two often considered as companion pieces – earned the displeasure of the censors, this was treated by them as a downright expression of mutiny; consequently, not only was it shelved and released only with the advent of ‘Perestroika’ in 1987, Muratova’s directorial career too was impacted for years, forcing her to shift from Odessa to Leningrad and work outside the industry until her rehabilitation; the parallels with between her and avant-garde Czech filmmaker Věra Chytilová are unavoidable. Yevgenia (played by renowned theatre actress Zinaida Sharko) is a well-off, vivacious middle-aged woman admired by her colleagues and friends. She’s also a domineering single-mom who dotes on her teenage son Sasha (Oleg Vladimirsky) to the point of extreme emotional dependence and exasperation. Hence, when he decides to move in with his dad in Novosibirsk upon experiencing a growing sense of estrangement with his mother, she begins to unravel. Her discontentment and Sasha’s disconnectedness were portrayed through splendid impressionistic bursts, interspersed with moments of quiet candour, and made particularly haunting by Muratova’s use of off-kilter formal choices – elliptical editing, repetitions, syncopated dialogues – along with stunning camerawork, moody B/W photography and a jangling, brilliant piano-based score. Yevgenia’s escalating inability to communicate with her son, ironically, stood at odds with her vocation as a successful translator, while the film’s freeform style underlined the duo’s unnerving push-pull relationship.

Director: Kira Muratova

Genre: Drama/Psychological Drama/Family Drama

Language: Russian

Country: Ukraine (erstwhile USSR)

Brief Encounters [1967]

 Kira Muratova, best known for Asthenic Syndrome, made her solo directorial debut with Brief Encounters, after a couple of films co-directed with her husband Aleksandr Muratov. Made at Odessa Film Studio during the “Khrushchev thaw”, this freewheeling, idiosyncratic and loosely-strung work exhibited her love for the French Nouvelle Vague and its radical figurehead Jean-Luc Godard. Like her dazzling next film The Long Farewell – which was even more avant-garde and formally eccentric – this earned the displeasure of the state censors for being too individualistic, and remained suppressed for the next two decades. Its delicately weaved love triangle – between pragmatic, unsentimental and bourgeoise city council planner Valentina (played by Muratova herself with deadpan poise); her free-spirited, vagabond husband Maxim (played by legendary Soviet folk singer-songwriter Vladimir Vysotskiy), a traveling geologist who loves strumming his guitar; and Nadia (Nina Ruslanova), a young woman from the countryside who Maxim met at a roadside café, and who’s incidentally now hired by Valentina as a domestic help at her sprawling apartment – is told through a mosaic of impressionistic perspectives, flashbacks and digressive allusions. The diffused B/W images, along with music splashes and fragmentary conversations, imbued the film with poetic-realism and a meditative air. These, in turn, were complemented by sardonic moments, like when Valentina is coaxed into attending a conference bearing no relevance to her work, or when she muses “To wash [the dishes] or not to wash them? – turning the grand Macbethian dilemma into comically banal – or when she adamantly ignores the pleas of families to classify the newly constructed public housing buildings as hospitable. Most interestingly, Muratova impishly subverted expectations by never having the two women find out about their shared love interest.

Director: Kira Muratova

Genre: Romantic Drama/Marriage Drama

Language: Russian

Country: Ukraine (erstwhile USSR)

The Getaway [1972]

 Sam Peckinpah delivered a gripping genre exercise with The Getaway – arguably the most straight-up actioner in his incendiary career – and an archetypal, albeit lesser-known, early entry in the pantheon of gritty 1970s American crime cinema. It was a substantial hit too, despite stretching mainstream sensibilities with its nihilism, violence and cynical amorality, facing considerable behind-the-scenes turbulence, and receiving negative critical reviews (which has fortunately reversed with time). The credit for its appeal goes as much to Peckinpah’s high-throttle direction and leading man Steve McQueen’s “King of Cool” on-screen persona, as the enormously cinematic source novel by Jim Thompson – with its blend of heist gone awry, sociopathic outlaws, on-the-road thrills and brooding violence – and the crackerjack script by Walter Hill, who rewrote the original adaptation by Thompson, including completely doing away with the novel’s final third and its pungently surreal finale. The film’s rakish stylistic flourishes were evident at the outset during the ingenious opening montage – capturing overlapping moments in times while introducing incarcerated career criminal “Doc” McCoy (McQueen) who’s up for parole – which was accompanied by flamboyant freeze frames and terrific sound design by Quincy Jones. Upon securing his release, he’s arm-twisted into immediately planning a bank robbery, which starts unravelling from the get-go thanks to a sleazy, rotten partner (Al Lettieri) who intends to double cross Doc at the first opportunity, and an alarming escalation in unplanned body counts. He’s consequently forced to go on the lam along with his wife (Ali MacGraw) – who doubles as a driver with fine get-away skills, thereby potentially serving as a prototype for Hill’s protagonist in The Driver – and partake in spectacular shoot-outs that stretch plausibility, while planning an escape to Mexico.

Director: Sam Peckinpah

Genre: Action/Crime Thriller/Road Movie

Language: English

Country: US

World on a Wire [1973]

 Rainer Werner Fassbinder’s 2-part 206-minutes-long television miniseries World On A Wire – the German wunderkind’s sole foray into science-fiction, adapted from Daniel F. Galouye’s novel Simulacron-3, and recently restored after years of obscurity – was a gloriously trippy, luscious, paranoid and prescient work where the dystopian future is here and now. Flamboyantly blending the sci-fi genre with noir, melodrama, conspiracy, philosophical meditations, existential anxieties, and distinctive Euro-arthouse sensibilities, and with cold, sleek, metallic and modernist décor complemented with disco-tinged sensuality, it recalled Godard’s magnificent Alphaville in its evocation of one non-compliant individual’s battle against a supra-national techno-totalitarian society, and presaged the Wachowskis’ The Matrix in positing that we might be trapped inside a simulated, hyper-real, virtual reality environment. The film’s protagonist, cybernetics engineer Fred Stiller (Klaus Löwitsch), succeeds as the technical director of a powerful government-corporate mainframe program called Simulacron which has created an artificial world with thousands of “identity units” and has the ability to predict industry trends well into the future, when his boss, Professor Vollmer, dies under mysterious circumstances. He goes on to sense and uncover a massive corporate conspiracy with monomaniac zeal, and before long becomes a hunted fugitive as he gets into loggerheads with the institute’s malicious CEO Siskins (Karl-Heinz Vosgerau). Along the way he gets close to two duplicitous women – Stiller’s personal assistant Gloria (Barbara Valentin) who’s essentially been plugged in to spy on him, and the deceased super-scientist’s sultry daughter Eva (Mascha Rabben) who Stiller becomes enamoured with. Co-written by Fassbinder, this deliciously ominous and tantalizingly foxy film – photographed in lush, grainy 16-mm by Michael Ballhaus, and featuring a rich soundtrack, including Fleetwood Mac’s hypnotic ‘Albatross’ – was populated with RWF’s regular gang of actors.

Director: Rainer Werner Fassbinder

Genre: Sci-Fi/Thriller/Mystery/Romance

Language: German

Country: Germany

Aranyer Din Ratri [1970]

 Aranyer Din Ratri marked a pivotal shift for Satyajit Ray. While he’d already made a terrific transition to contemporary Calcutta settings earlier, and had tackled defiant topics already – from religious dogmatism and quackery to tyranny and war hysteria to crumbling feudalism and gender roles – he embarked on a more overtly political cinema with its cutting critiques on class entitlements, fragile masculinity, sexual tensions, exploitative attitudes, urban privileges, and brewing social conflicts. It, consequently, served as a fascinating segue to his radical masterpiece Pratidwandi that he immediately followed this with; both films, incidentally, were adaptations of feral novels by Sunil Ganguly. The tale’s premise – viz. the weekend getaway of four close friends and the women they meet there – was indicative of a light-hearted comedy; however, despite its loose-limbed structure, it was anything but one. The four friends – the haughty, fast-rising corporate executive Ashim (Soumitra Chatterjee); erudite, reserved labour welfare officer Sanjoy (Subhendu Chatterjee); brash, petulant cricketer Hari (Samit Bhanja) fresh of a heartbreak; self-effacing, unemployed Shekhar (Rabi Ghosh) who’s the group’s unintentional comedian – find their shallow, self-centred and vulgar self-confidences shattered by the intelligent, self-assured Aparna (Sharmila Tagore) who Sanjoy becomes besotted with, her widowed sister-in-law (Kaberi Bose) who challenges Sanjoy’s “bhadralok” sensibilities, and impoverished Santhal woman Duli (Simi Garewal) who the egotistic Hari seduces leading to a violent comeuppance. Ray underscored the jaunty tone with sharp undercurrents of cynicism and irony, while Soumendu Roy’s terrific B/W cinematography – along with ingenuous inter-cutting that, accompanied with shots of Santhal dance, took the narrative to an edgy crescendo – gave the film a compelling audio-visual language. Ghosh’s turn was arguably the best of the lot in this funny, provocative, tense and cynical work.

p.s. This is a revisit. My earlier review of this film can be found here.

Director: Satyajit Ray

Genre: Drama/Road Movie/Buddy Film/Romantic Drama/Ensemble Film

Language: Bengali

Country: India

Seconds [1966]

 Seconds – the nightmarish final chapter in John Frankenheimer’s ‘Paranoia Trilogy’ – wasn’t an overly political film, unlike the two that preceded it, viz. The Manchurian Candidate and Seven Days in May. It was, instead, a bleak and discordant foray into mid-life crisis and existential disillusionment, along with an unsettling study on the malleability of identity – through the dystopian premise of “rebirth” via next-gen plastic surgery – that recalled Georges Franju’s Eyes Without A Face and Hiroshi Teshigahara’s The Face of Another; this latter facet, incidentally, would keep recuring in both future arthouse films (e.g. Pedro Almodóvar’s The Skin I Live In) and mainstream movies (e.g. John Woo’s Face/Off). However, that said, it wasn’t without political undertones thanks to its sharp critique of the American Dream that’s supported by conventional suburban family, corporate job, material wealth, consumerist desires and heteronormative existence. This was clearly a work of two halves. In the brilliantly constructed first half, middle-aged, well-off and deeply dissatisfied New York banking exec Arthur Hamilton (John Randolph) is lured by a shady company – through hilariously sleazy salesmanship (by Jeff Corey), spurious smooth-talking (by Will Greer) and wicked entrapment – into agreeing to shed his current identity and transform into bohemian Malibu-residing artist Tony Wilson (Rock Hudson), in lieu of a steep price that they exact in return. In the rather formless second half, Tony struggles to adjust in his new persona and life – finding it equally empty and meaningless – and faces a horrific destiny in the memorably macabre closing sequence. The film’s visceral mood was amplified by the expressionistic B/W cinematography and jazzy score which, along with its free-flowing Kafkaesque segments, made it feel closer to a European than an American film.

Director: John Frankenheimer

Genre: Thriller/Psychological Thriller/Sci-Fi

Language: English

Country: US