Shankar’s latest Tamil film, I, is Pygmalion meets Beauty and the Beast, though its visual splendor and impressive song sequences don’t make up for the film’s clumsy critique of fashion and an offensive portrayal of a transgender character.
Theodore Melfi’s film finds itself caught between disparate tones, forced gags punctuating what appears, on the surface, to be a mostly dramatic affair.
Three Sisters is an eerie concoction of expected narrative tropes, garnished with a hint of acerbic wit, topped with spurts of comic extravagance, much like the experimental batches of confectionery made by the Toraya family that tickle the taste buds of everyone in the film.
21 Ways to Ruin a Marriage, from director Johanna Vuoksenmaa, is a rom-com that actively defies genre conventions and, for that, it is a pleasant success.
The 100-Year-Old Man Who Climbed Out the Window and Disappeared is a beautiful examination of mankind’s constant irrational search for the rational in every instance of life. Herngren has adpated the highly successful novel by Jonas Jonasson and retained its absurdist essence.
Gracie Otto’s truly inspiring and impactful documentary never loses sight of its vision – it is the Michael White story – in all its grandeur, cruelty and pathos.
Josh Lawson’s witty directorial debut subverts expectations of the rom-com genre by crafting a funny (and occasionally dark) film about sexual fetishes and the nature of love.
Canadian born film-maker Richie Mehta has crafted a cinematic rarity – an accurate and authentic representation of the contradictions within contemporary India.
A throwback to psychological thrillers like North By Northwest and Chinatown, Hossein Amini’s eagerly awaited directorial debut is the perfect vehicle for him to display his command over on-screen narratives.
Eastern Boys is a film about what is left unsaid on screen, using sparseness of its dialogue to great effect.