World on a Wire is the discovery of the season, rarely screened in America but very much a key chapter in Fassbinder's story--a step toward bigger budgets and slicker production values, yet clarifying of his core artistic legacy.

Mistress America steamrolls through its mesmerizingly dense running time with such joyous violence that its themes only bubble up to the surface in retrospect, the heart of the movie identified like the dental records of a body that’s been burned beyond all recognition.

A survival epic full of mysteries and magic, it’s an animated epic worthy of Ghibli.

The most impressive aspect of Breillat’s feature is that it agitates like the best fairy tales, seducing us with otherworldliness before sticking the knife in and permanently inscribing the moral.

The Cold War is over, but director Tomas Alfredson (Let the Right One In) and his collaborators have brought those suspicion-fueled days to vivid life in this masterful adaptation of John le Carré's beloved 1974 spy novel.

If Jim Jarmusch’s languorous, laconic style isn’t your bag, his stone-faced vampire comedy won’t make you a believer. Those who’ve already been bitten, however, will swoon like the film’s toothy leads whenever their lips touch neck juice.

A great film.

A wonderful achievement, a dark film with a generous heart in the shape of an extraordinarily touching performance from Hoskins.

A masterpiece.

Rarely leaning on the weepy families back home, this briskly paced triumph maintains a clear focus on human costs, with hope slipping away onboard while lives hang on the burp of a fax machine.

Moreover, the story doesn’t climax in all’s-well-that-ends-well matrimony, instead building to a beautifully bittersweet moment of self-realization, one with a light-touch profundity that would make the Bard proud.

One of the most impressive American thrillers of the late '80s.

The movie toggles between two periods-before and after a catastrophe-and, were it not for Swinton's magnetism, it would be unbearable. Instead, you'll want to stay for the wallop.

Sick of Myself is, for all the dark themes and unsettling imagery, deeply watchable – a perfectly executed black comedy accompanied by humorously viscious counter-culture commentary that cannot be overlooked.

No simplistic status parable. It’s more a psychological snapshot of a person forever doomed to remain a voyeur to her own life

Genius just about covers it.

With immaculate period reconstruction, and virtuoso acting shot in long, elegant takes, it remains the director's most moving film, despite the artificiality of the sentimental tacked-on ending.

This film leaves you with the thrill of a good fight fought hard. It’s a scrappy, absorbing tribute to the pragmatic value of compromise, carefully proffered in pursuit of a greater good. America’s candidates would do well to take a page out of this doc’s book.

With a stunning score by Miklós Rozsa, carefully modulated performances, lush location photography, and perfect sets by Trauner, it is Wilder's least embittered film and by far his most moving.

Yorgos Lanthimos’s feminist Frankenstein comedy is scabrous, smart and obscenely funny.

Rohmer has a genius for taking a seemingly mundane situation and slowly tightening the screws.

Great blue moments in black-and-white from a director whose early work is still outstanding: the film burns with the humanity that Raging Bull never quite achieves, an expression of masochism mixed with futile pride that is the essence of boxing as a movie myth.

Deceptively hidden under layers of gorgeous surfaces, Paul Thomas Anderson’s borderline-sick romance waltzes toward a riveting tale of obsession.

The film’s primary feelings are anger and paranoia. As we watch this depiction of a life lived looking over your shoulder, we recognise these as the most commonly, deeply felt feelings of our age.

It isn't until the story reaches its fancifully abstract final passages, where cinema displaces music as Douglas's weapon of choice, that Chase's reverie reveals itself as a particularly exceptional exploration of how art ceases being an idle hobby and becomes an obsessive vocation.

Stunning, eerily atmospheric.

Sullivan's Travels is a gem, an almost serious comedy not taken entirely seriously, with wonderful dialogue, eccentric characterisations, and superlative performances throughout.

Much will depend on how far you’re willing to go with the wild swings the film takes in its second half, but if you’re down for a trip, Sirat is The Wages of Fear meets The Vanishing on shrooms; startlingly original, jarringly hilarious and deeply disturbing.