Elena (2011)
The Revelation according to Andrei Zvyagintsev doesn’t come after a terrifying future event. It is the already present moral collapse that will bring the inevitable catastrophe.
CategoryReviews
Skammen (Shame, 1968)
Ingmar Bergman, in one of his lesser known masterpieces, de-dramatizes a war by transferring all its tragedy to Liv Ullmann, Max von Sydow and inevitably to his audience too.
Ida (2013)
Paweł Pawlikowski tries to express everything that troubled 60s Poland but his aesthetic austere formalism surpasses the content.
The Act of Killing (2012)
Joshua Oppenheimer creates a multilayered documentary that explores the Indonesian massacres by blending fiction with reality, the present with the past and surrealism with true horror.
Force of Evil (1948)
Abrahams Polonsky suggests that entrepreneurship is not so far away from criminality and that something is corrupted in the immaculate postwar American society.
Jauja (2014)
Jodorowsky meets Tarkovsky with a touch of Beckettian minimalism in Lisandro Alonso's hypnotic meta-Western that leads Viggo Mortensen into a never-ending journey to a surreal existential void.
Sauve Qui Peut (La Vie) (Every Man for Himself, 1980)
Jean-Luc Godard explores the limits of individualism, apathy and venality as the children of Marx and Coca-Cola grew up.
La Vénus à la Fourrure (Venus in Fur, 2013)
Roman Polanski offers a revamped verbose sadomasochistic experience that manipulates Mathieu Amalric, Emmanuelle Seigner and his audience.
Boy Meets Girl (1984)
The first masterfully structured abstract elegiac work by Leos Carax as he becomes French cinema's most acknowledged enfant terrible.
Stachka (Strike, 1925)
The debut feature film by Sergei Eisenstein and the first archetypical example of pure communist propaganda.
Konec Agenta W4C (The End of Agent W4C, 1967)
Václav Vorlíček created the first Czechoslovak absurd bond-esque espionage parody that still holds its cult status.
Valerie a Týden Divů (Valerie and Her Week of Wonders, 1970)
A disturbing surreal erotic horror coming-of-age fairytale of political allegory by Jaromil Jireš marks the end of Czechoslovak New Wave.