Leonardo Goi

If Deniz Gamze Ergüven’s 2015 Mustang – a feature that would make for a terrific double bill – shares with Sibel a perceptive eye for the way a cancerous patriarchy can stifle a girl’s coming of age, Sibel takes the critique a step further, shedding light on its cross-gender repercussions.

Perceptively, the mix of hope and anxieties permeating the commune serves as an allegory that stretches far beyond the cordillera. Political commentaries abound all throughout Too Late to Die Young, but Sotomayor parcels them out with jaw-dropping subtlety.

Slow-paced and meditative, Hotel by the River is a director’s plunge into a milieu where chuckles go hand in hand, often to ambiguous and conflicting extents, with a melancholic bracing for death.

Where the new entry lacks in bloodshed and bone-splintering violence, it still confirms Zahler’s penchant for complicated characters, and conjures up a bad cops action movie which, despite blips in tension and a second half far superior to the first, crystallizes Zahler’s as a key name to watch for lovers of the genre.

At Eternity’s Gate is a film made by an artist (“plates painter” Schnabel) less concerned with a painter, more with the way a painter saw the world. In its rupture from traditional biographical narratives, it does not merely stand out as unconventional biopic–it also comes close to resuscitating the idea of cinema as moving pictures.

Credit for A Star is Born‘s heartwarming aura is owed less to Cooper’s own directing (assured and judicious a debut as it may be) than to the freshness and credibility brought by his fellow superstar. Believe the pre-premiere hype: Lady Gaga is nothing short of extraordinary.

Whether or not the thought of following a self-absorbed wannabe filmmaker for 136 minutes has you buzzing with excitement, A Paris Education is a wonderfully anachronistic homage to a timeless, New Wave-style world filled with cinephiles, lovers, and great films. It’s a universe as self-centered as it is endlessly fascinating.

Endlessly quotable and serendipitously timely — all the more so considering the whole project was conceived nine years ago — The Favourite is a zany, piercing close-up on three women so replete with swagger as to reduce their male counterparts to disposable extras.

In its tragic undertones, complex psychological edifice, and claustrophobic visuals, First Man stands out, in both content and form, as a remarkable, jaw-dropping departure from anything Chazelle has previously made.

Judiciously gritty in its specifics, Araby’s scope is ecumenical.

Its jaw-dropping and gripping beauty does not stem from a drama-filled storyline, but from the simplicity with which Simón captures the worldview of her alter-ego heroine, and the complex power struggles Frida engages with her new family.

Foroughi’s assured debut remains a welcomed and insightful reminder that the patriarchy Ava struggles against is still alive and kicking. Stories like hers will hardly ever grow old.