15. Stranger by the Lake Directed by Alain Guiraudie Written by Alain Guiraudie France Though Stranger by the Lake premiered at last year’s Cannes Film Festival (and appeared on Sound On Sight’s best of 2013 list), it finally reached North American audiences in January of this year. Alain Guiraudie’s stunning noir-tinged thriller is …
Picking the best movies that come out in any given year is no easy feat. For film fans, a quality feature can come out at any time, from any one, and discovering an enjoyable and well-crafted feature is truly a pleasure. As we reach the halfway point of the year, many excellent films have already …
South Korean filmmaker, Joon-ho Bong, has never been afraid of mixing genres. In his latest and most challenging film to date, Snowpiercer, Bong mixes action, sci-fi and satire to create a delightfully twisted prison break story. Snowpiercer owes much of its effectiveness to an ingenious script that uses 3 discrete acts to effortlessly shift its …
The Best of Korean Cinema is a running series of articles that comes out every two weeks, in which I take a look at the best 21st century Korea has to offer, cinematically speaking, whether that means big names like Park Chan Wook and Kim Jee Woon or unknown curios that deserve the coverage. This …
Mother is a strange and compelling film that stretches the bounds of audience sympathy, and manages to work equally well whether or not it is maintained for its entire running length Mother Directed by Joon-Ho Bong Maternal pain is the driving force behind Korean wunderkind Joon-Ho Bong’s fourth feature, acting as the practically exclusive catalyst …
79– Divine Intervention (2002) Directed by Elia Suleiman Genre: Dark Comedy, Drama Palestinian writer-director Elia Suleiman has rightfully been compared to Charlie Chaplin with his talent to create such brilliant deadpan black out sketches in the midst of his long slow-paced moments of expressive silence. Divine Intervention is his second feature, best described as the …
Mother Directed by Joon-Ho Bong Maternal pain is the driving force behind Korean wunderkind Joon-Ho Bong’s fourth feature, acting as the practically exclusive catalyst for a film that seems to delight in toying with audience expectations. Kim Hye-Ja, whose thin resumé does nothing to foreshadow her towering work here, stars as the titular matriarch, whose …