Cinemascope

 Gus Van Sant’s Dead Man’s Wire was filled with absorbing zeitgeist, gritty 1970s vitality, sly humour and subversive “state of the nation”...

 Yorgos Lanthimos’ absurdist and unhinged black comedies have toggled between relatively minimalist palettes and unreservedly maximalist one...

 Romanian provocateur and lampooner Radu Jude’s Dracula – his second outing in 2025 after Kontinental '25 , both shot using iPhones – w...

 In 1974, writer Linda Rosenkrantz – who loved harnessing casual conversations and gossips – invited celebrated photographer and her friend ...

 Jafar Panahi’s blistering work It was Just an Accident was defined as much by the edgy specificity of its milieu as by the stirring univer...

  Father Mother Sister Brother – Jim Jarmusch’s fourth anthology film, a form that he keeps returning to – was interwoven with his love for...

 It’s quite astonishing that Marco Bellochhio, a (hopefully) soon-to-be nonagenarian who made his directorial debut six decades back, is sti...

 Teenagers struggling to break free from the vicious cycle of marginalized existence, abandonment and abuse – a recurrent theme in the Darde...

 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 ...

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 pr...

 Kelly Reichardt’s minimalist “anti-genre” exercises – subversion of genre trappings, prioritizing inaction over actions, and leaving cine-g...

 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 memb...

 Óliver Laxe’s existential road movie Sirāt was both an unconventional film and a film made unconventionally. Combining the hellish journey...

 Park Chan-wook’s filmography is replete with wickedly feral killers who complement method with madness. No Other Choice ’s anti-hero, conv...

  The Secret Agent is intimately linked to Kleber Mendonça Filho’s filmography – fondness for B-movies and old theatres, novelistic approac...

  Miroirs No. 3 , with its beguiling set-up, eerily tranquil tone with an underlying disquietude that gently builds, disarming and economica...

 Right from its bravura opening sequence – shot in grainy analogue and single-take using a telephoto lens which slowly zooms in from high-up...

 JFK’s assassination has formed a recurring thread within political conspiracy thrillers, while among French left-wing political cinema in p...

  Umberto D. – Italian Neorealist movement’s final definitive film and Vittorio De Sica’s personal favourite – alternated between extreme d...

 Visconti pioneered neorealist cinema and Rossellini took it to exalted heights; but it was Vittorio De Sica who gave this profoundly influe...