-
Obsession (2025)
Love stripped of consent warps into a demonic force in Obsession, and through one man’s reckless wish for absolute devotion, Curry Barker exposes the insidious, consuming violence of its coercive fulfilment.
-
Red Sorghum (1988)
Red Sorghum’s step back into modern Chinese history deserves the poetic treatment of a folk epic for Yimou Zhang, as this ancestral fable intimately bridges the distance between generations, and paints rural vitality and resistance in lush, expressive brushstrokes.
-
The Man From London (2007)
Sensationalist thrills are entirely drained from The Man from London’s crime plot of drowned bodies and stolen cash, as Béla Tarr instead establishes an aesthetic distance from its bleak chain of events, and turns his probing, glacial camera towards the moral vacancy of its lifeless seaport.
-
Natural Born Killers (1994)
Perhaps the mass media didn’t directly create mass murderers Mickey and Mallory in Natural Born Killers, but Oliver Stone certainly exposes its complicity in their myth-making, screaming a brazen, self-flagellating indictment of pop-cultural cannibalism in neon, blood, and hyper-kinetic chaos.
-
Lee Cronin’s The Mummy (2026)
That Lee Cronin’s The Mummy should include its creator’s name is an audacious move for an emerging director, yet in staging a young girl’s demonic possession against her parents’ anguish, Cronin’s deterioration of the family unit begins to justify the claim of auteurship.
