Pretty but far from compelling, North Sea Texas breaks no new grounds in queer cinema. Instead, it’s an unassuming, quietly told tale of a windswept adolescent romance and the pangs of first love, with an intoxicating cinematography that’s worth enough the admission.
Possibly the most bizzare, mind-numbingly opaque Palme D’Or winner in recent memory that invests more in creating mood, Zen-like atmosphere and spiritual rhetoric rather than compelling cinematic experience. It’s seductively hypnotic and soothing like a Thai massage, but one that doesn’t leave a lasting impression.
Transcends the art of blending documentary with fiction. Unhurried and graceful, this is a bittersweet, aching paean to fatherhood, a soaring hymn to nature and a stark, primal reminder of what makes us who we are.
An endlessly fascinating, intelligent work, effortlessly fusing neo-noir crime thriller with absurdist social satire. Yet above all, there’s a heart-wrenching melodrama about a human tragedy called maternal love, anchored by a tremendous, towering performance by Kim. One of the year’s best films.
Unsettling, provocative and tragic. Dogtooth may be one of this year’s most bizarre yet genuinely haunting films, exploring parental fascism with devastating results. As soon as this bites, it leaves a lasting mark.