Souleymane's Story (2024)

Direction: Boris Lojkine
Country: France 

Souleymane’s Story is a well-observed, heartbreaking drama that details an individual human experience with tension. Beautiful in its modesty, the film serves as a wonderful tribute to honest, hard-working migrants striving for a better life beyond their homelands.

At just 93 minutes, Souleymane’s Story builds its emotional power without overstaying its welcome. It pulls all the right strings without ever feeling manipulative, delivering a compelling socio-political message while allowing its characters and situations to unfold naturally.

Souleymane (Abou Sangare) is a former mechanic from Guinea working illegally in Paris as a delivery man. Like many African asylum seekers, he’s completely aware that his upcoming interview—where he will try to convince French authorities of his sad story—will determine his fate. Meanwhile, he’s confronted with many pressures and setbacks coming from different directions. 

Sangare, making his acting debut, is himself an undocumented migrant, mirroring his character’s journey with a rare and heartbreaking authenticity. Captured through raw, handheld camera, his performance radiates intensity, anchoring a film whose aesthetic choices  transcend documentary realism to become something even more urgent and profound. 
Triumphant in every aspect, Boris Lojkine’s third fictional feature is a slap in the face—tense as a thriller and searing in its social commentary. It is a work of rare power and honesty, masterfully blending content and form.

Hypnotically shot by Belgian cinematographer Tristan Galand—whose experience spans both fiction and documentary filmmaking—Souleyman’s Story is a film everyone needs to see. It serves as a powerful reminder of our shared humanity and the need for solidarity. So simple yet so genuine and captivating in all its essence.

The Girl With the Needle (2025)

Direction: Magnus von Horn 
Country: Denmark / Poland / Sweden

The Girl With the Needle is a stark and unflinching period drama, imbued with immense emotional heft. It marks another impressive achievement from acclaimed Swedish filmmaker Magnus von Horn (The Here After, 2015; Sweat, 2020), in his first venture into black-and-white cinema. Inspired by Denmark’s most notorious criminal case—the life of serial killer Dagmar Overbye, who murdered 25 infants—the screenplay, co-written with Line Langebek Knudsen, deliberately avoids a direct biopic. Instead, they introduce Karoline, a fictional young factory worker who becomes pregnant and, through her fateful encounters with the criminal, reflects society’s perception of women in her position. 

The film unfolds with haunting beauty, capturing the profound isolation of its protagonist through restrained yet deeply affecting storytelling. Von Horn constructs a chilling, nightmarish world where loss and despair seep into every frame, leaving little room for hope. His approach, evocative of classic European arthouse cinema, is both subtly exasperating and hypnotically compelling.

The Girl With the Needle is raw, unrelenting, and unforgettable—its emotional and visual impact heightened by masterful staging and an ever-present sense of suffocating tension. Lushly photographed in monochrome, the film is elevated by outstanding performances from Vic Carmen Sonne and Trine Dyrholm, whose portrayals add to its harrowing intensity.

The Brutalist (2025)

Direction: Brady Corbet
Country: USA

The Brutalist, the fourth feature from Brady Corbet, co-written with his wife Mona Fastvold, is a riveting epic drama starring Adrien Brody, Guy Pearce, and Felicity Jones. The film’s title references both the stark architectural style that emerged in the 1950s—marked by raw materials like concrete and brick—and the underlying brutality of human nature. 

At its core, it tells the story of László Toth (Brody), a visionary Hungarian architect who escapes war-ravaged Europe to rebuild his life in America after surviving the concentration camps. His dreams take shape when wealthy tycoon Harrison Van Buren (Pearce) recognizes his talent and commissions him for an ambitious project. However, the opportunity comes at a steep cost, forcing László to navigate a world of power, ambition, and disillusionment.

Embracing a style that evokes the cinema of Paul Thomas Anderson and Orson Welles, The Brutalist explores the intersection of the immigrant experience and the artist’s journey, as well as the corrosive effects of human dominance. Over its sweeping 3-hour-and-35-minute runtime, the film presents both breathtaking visuals and an unflinching portrayal of an artist’s struggle, leaving the viewer bracingly unsettled.

The Brutalist is breathtakingly cruel and merciless in its essence, served by masterful performances, a punchy dialogue, and bravura staging. As a film of remarkable dramatic and formal magnitude, the more you think about it, the better and more qualified the film seems. A monumental work that firmly establishes itself as an instant classic.
Brody, an actor in state of grace, embraced another tailor-made role for him, making The Brutalist one of the standout films of the year.

Black Dog (2024)

Direction: Guan Hu
Country: China

Co-written by versatile Chinese director Guan Hu (Cow, 2009; Mr. Six, 2015), Black Dog is a remarkable and deeply moving drama brimming with soulful and tender moments. Set in a transforming town on the edge of the Gobi Desert in Northwest China, the story follows Lang (Eddie Peng), a former stunt motorcyclist and rock band member who returns to his hometown after being released from prison. Alienated in a world rife with cruelty, Lang finds solace and renewed hope in a wild black dog with a bounty on its head. Along the way, he confronts old enemies, visits his dying alcoholic father, and forms a special bond with a belly dancer employed by a new circus in town.

Hu’s masterfully crafted drama showcases mesmerizing camerawork, with the lens trailing and circling characters intimately, creating an immersive visual experience. The steady pacing allows the emotional weight of the story to unfold organically, while the stunning performances breathe life into the characters. The film’s aesthetic excellence is further elevated by Pink Floyd’s evocative songs, which add depth and resonance to the narrative. With meticulous attention to the intricacies of everyday life, Black Dog shatters the illusion of emptiness, drawing viewers into its rich, observational storytelling.

Defined by Guan Hu’s distinct directorial vision, Black Dog stands as his finest work to date. This profoundly affecting tale of reintegration, loneliness, and human resilience is both a bold sociopolitical critique and an intimate exploration of personal struggles. The film leaves a lasting impression, inviting viewers to reflect long after the credits roll. With a brief but notable cameo by acclaimed director Jia Zhangke, Black Dog is a testament to the resurgence of Chinese cinema on the global stage.

Close Your Eyes (2024)

Direction: Victor Erice
Country: Spain

Victor Erice, the masterful Spanish writer-director known for iconic films such as The Spirit of the Beehive (1973), El Sur (1983), and Dream of Light (1992), returns after more than three decades with another cinematic gem, Close Your Eyes. Set in 2012 Madrid, the film follows Miguel Garay (Manolo Solo), a filmmaker who is invited by a TV show to share his testimony about his best friend, famous actor Julio Arenas (José Coronado), who mysteriously disappeared 22 years earlier without a trace.. 

Close Your Eyes is a masterclass in structure, meticulously shot with intimate close-ups and an engrossing three-hour narrative. It restores faith in cinema, serving as a haunting tribute to both the medium's history and the endurance of deep friendships. Erice wields a radical simplicity and purity of gaze that only a true cinematic master can command. Every scene is given exactly the time it needs, every camera movement is intentional, and the dialogue captivates as it weaves a relatable tale of mystery, nostalgia, and the search for meaning. 

I also found curious how Erice, without being conservative, shows the changes of time with an elegant subtlety. At 83 years old, and with only four feature films to his name, Erice has an unparalleled ability to evoke mood, time, and place with a light, yet poignant, touch. Beautiful moments like the reunion between Garay and his former girlfriend (Soledad Villamil) radiate warmth and nostalgia, with melancholy lingering just beneath the surface, triggering immediate emotions and fleeting intuitions.

While quiet in tone, Close Your Eyes is rich in character and atmosphere, offering an immersive experience with the timeless quality of a classic.

Do Not Expect Too Much From the End of the World (2024)

Direction: Radu Jude
Country: Romania 

After the polemic and somewhat superfluous Loony Porn (2021), the incredibly talented Romanian writer-director Radu Jude continues to claim a spot at the peak of contemporary cinema with Do Not Expect Too Much From the End of the World, another love-it-or-hate-it endeavor that places an independent young woman under relentless observation in a radically changing Bucharest. 

Ilinca Manolache plays Angela Raducanu, an exhausted and underpaid production assistant working for an Austrian company that exploits workers and has a reputation for destroying Romanian forests for profit. Overworking to the point of risking falling asleep at the wheel, she navigates the chaotic Bucharest traffic - often filled with macho drivers - to interview handicapped people for a devious TV show. With no time for herself, she finds solace in posting provocative TikTok videos where she impersonates a man with moronic behavior and lousy ideas. Two key moments of the film include a frank conversation with her boss, Doris Goethe (Christian Petzold’s muse Nina Hoss), and an encounter with the wishy-washy German filmmaker Uwe Boll (himself).

Using footage, the film creates a link with Angela Merge Mai Departe, a 1981 feminist Romanian feature directed by Lucian Bratu, centered on a female taxi driver under the communist dictatorship. This raffish and pertinent divertissement brings a lot of truths to light, touching on themes such as neoliberal capitalism, sexism, corruption, exploitation, resignation, and impunity in a tortured urban society that simply has no time to enjoy life.

Jude evokes the social realism of Jim Jarmusch and Jean-Luc Godard - creative in form, tenacious in the storytelling - and infuses a caustic humor that, cutting sharper than a knife, is often quite delicious. More jarring than sweet, Do Not Expect Too Much From the End of the World is an eye opener for our hectic times. A must-watch.

Evil Does Not Exist (2024)

Direction: Ryusuke Hamaguchi
Country: Japan 

Ryusuke Hamaguchi (Wheel of Fortune and Fantasy, 2021; Drive My Car, 2021), known for his ability to transform simple plots into impactful films, continues to impress with his latest work, Evil Does Not Exist, a sublime ecological fable marked by tragic personal consequences. What started as a collaborative audio/visual project with composer Eiko Ishibashi, became a relevant piece of narrative fiction about how threatened our ecosystems and existences are.

“Balance is the key”, claims Takumi, the protagonist of the film, portrayed by assistant director-turned-actor Hitoshi Omika. He is a single father and expert in trees and plants, living in a rural alpine region near Tokyo. When a shady company, discreditably represented by two talent agents, announces plans to build a glamping site in the area, Takumi and the local community raise concerns about environmental impacts.

Sculpted with vision and purpose, this uncommonly edited film warns us of the fragility of our planet as well as the greed plaguing our modern societies. The limpid and leisurely composed images are a pure treat for the eyes, exuding a heavenly sense of peace that contrasts with the imminence of danger. An impressive breadth of realistic investment doesn’t prepare you for the nearly surreal climax, in one of those finales that are not simply given but rather prompts reflection on both harmed natural environments and the volatility of human nature. 

There’s a lot to drawn from Hamaguchi’s directorial sensitivity given that it’s rare to see a drama that makes such subtle sense of its subject matter. True to his style, he solidifies his position as one of the greatest filmmakers of our times.

The Zone of Interest (2023)

Direction: Jonathan Glazer
Country: UK / other

In The Zone of Interest, British filmmaker Jonathan Glazer, known for Birth (2004) and Under the Skin (2013), delivers his finest film to date, a loose adaptation of Martin Amis' novel that rightfully earns the accolade of Best International Feature Film at the Oscars. This visually arresting and original work centers around the diligent Auschwitz commandant Rudolf Hoss (Christian Friedel) and his wife, Hedwig (Sandra Hüller), who reside in their idyllic dream house adjacent to the concentration camp. Shot on location, predominantly with natural light, the film masterfully juxtaposes the serene family life of the couple with the harrowing reality of genocidal atrocities occurring just beyond their property fence.

The characters’ examination is done patiently and incisively within a narrative that doesn’t rely on explicitness to convey its message. The film’s opening scenes are evocative of Jean Renoir’s bucolic A Day in Country, only to swiftly confront the audience with a different reality: the banality of evil. This is done with such a discretion it becomes creepy. There’s family and well-founded dreams on one side, and then selfishness, privilege, and indifference on the other.

Polish cinematographer Lukasz Zal, who previously worked with Pawel Pawlikowski in Ida (2013) and Cold War (2018), contributes to the film’s visual allure with exquisite compositional finesse and meticulous attention to detail. His framing effectively captures the narrative's haunting atmosphere, punctuated by dreamy sequences in negative black and white that offer glimpses of compassion amidst the darkness. Despite these brief moments, it’s all very disturbing and fiercely unsentimental. 

The Zone of Interest isn't your high-octane WWII thriller, emerging instead as a spellbinding and unsettling meditation on personal dreams and silent crimes. It’s a powerful and memorable affair that, offering a different perspective of the Holocaust, may feel oppressive despite the absence of explicit violence. Benefitting from impressive performances by the pair of German actors, Glazer portrays this drama with the dazzling smoothness of a movie-making natural.

Dune: Part 2 (2024)

Direction: Denis Villeneuve
Country: USA

Clocking in at a substantial two hours and 46 minutes, the highly anticipated sequel to Dune proves to be a captivating and daring work that surpasses its predecessor. It stands as a pure marvel, leaving audiences speechless with cinematic qualities bound to linger long after the credits roll. 

Directed with ferocity by Denis Villeneuve, the film pushes the envelope with its gripping dark atmosphere, suspenseful hunts and ambushes, intricate rituals and prophecies, psychedelic imagery, and exhilarating fights set against magnificent backdrops. 

In this grandiose adaptation of Frank Herbert’s adventurous saga, Paul Atreides, portrayed with compelling depth by Timothée Chalamet, joins forces with the Fremen tribe, confirming his role as the prophesied leader they have been awaiting. His journey includes daunting challenges such as riding a giant sandworm - a scene described by the director as the most complex he has ever filmed - and facing off against the sadistic Baron Vladimir Hakkonen (Stellan Skarsgard) and his ambitious and ruthless nephew, Feyd-Rautha (Austin Butler). Amidst these trials, Paul also finds love with the rebellious Fremen warrior Chani (Zendaya), but their relationship is threatened by the uncertain fate of the universe.

While the film boasts elaborate storytelling, it never veers into indulgence. The incorporation of abstraction amidst its dense layers adds depth, while still delivering all the impact one would expect from a breathtaking sci-fi adventure. Hans Zimmer’s ominous gothic score further heightens the intensity of each scene, contributing to the film’s overall strength.

Dune: Part 2 stands as the apotheosis of Villeneuve's directorial signature within the sci-fi genre - a tremendous display of full-throttle filmmaking that mesmerizes with its clever stylization, unwavering attention to detail, and grandiose visuals. Sit back, relax, and immerse yourself in this unmissable epic space opera.

Poor Things (2023)

Direction: Yorgos Lanthimos
Country: USA

Greek-born filmmaker Yorgos Lanthimos is able to keep audiences in giddy laughter or shocking horror. Known for his unique storytelling in films like Dogtooth (2009), The Lobster (2015), and The Favourite (2018), he presents his latest black comedy, Poor Things. Adapted from Alasdair Gray's 1992 novel, the film is written by Tony McNamara and features a stellar cast, including Emma Stone, Willem Dafoe, Mark Ruffalo, and Ramy Youssef.

The film follows the story of Bella (Stone), a candid young Victorian woman brought back to life by the eccentric surgeon Dr. Godwin Baxter (Dafoe). With newfound free will, Bella embarks on a journey of self-discovery, choosing to explore life with its pleasures and challenges. Her unconventional choices, including running away with lawyer Duncan Wedderburn (Ruffalo), will teach her many things, ultimately sending her back to an unimaginable past of darkness.

Gorgeously rendered, the film offers a smart and eccentric exploration of society and the human experience. An ambitious idea framed with visual distinction and spirited performances, where vertiginous philosophical foundations merge with a strong determination in self-learning and sexual liberation. This sinister tale is hilarious in spots, persistently full of life (despite dealing with death), and provocative as the hip filmmaker likes to shape his off-kilter comedies. 

With its moody soundscape by Jerkin Fendrix and superb cinematography by Robbie Ryan, Poor Things is the standout unconventional comedy of the year. Lanthimos continues to surprise audiences with his daring imagination, offering a fresh and intoxicating cinematic experience.

Close (2023)

Direction: Lukas Dhont
Country: Belgium / France / Netherlands

Lukas Dhont’s sophomore feature, Close, is an unheralded gem of a motion picture, and one of the most authentic depictions of teenage tragedy in memory. If the 31-year-old Belgian director, a specialized artisan in filming adolescence and the quest for identity, had made a name for himself with Girl (2018), he now takes a huge leap forward with a deeply moving drama about two inseparable 13-year-old friends, whose special connection is suddenly disrupted in the face of the quick judgment shown by their schoolmates. Tragedy leads to guilt, whose corrosiveness is deterrent to a normal life. 

It’s impossible not to be taken in by this devastating and powerful film marked by standout nuanced performances from the two young leads, Eden Dambrine and Gustav De Waele. One simply finds perfection in their acting debuts.

Finely framed and tightly constructed, the film deals with emotions that swell significantly in non-flashy ways. Every occasion is clearly expressed, including the beautiful scenes between mothers and sons. I found the payoff considerably higher here than in the majority of movies about the same topic. One thing is certain: after watching Close, you won't forget its protagonists such is the intimacy and pain associated with their interactions. 

While working on the thoughtful screenplay, Dhont drew inspiration from the book Deep Secrets: Boys’ Friendships and the Crisis of Connection by psychology professor Niobe Way. His formidable film was the recipient of Cannes Grand Prix and lingers in my head since I’ve watched it.

Past Lives (2023)

Direction: Celine Song
Country: USA 

First-time feature director Celine Song captures an amazing story about two people who share an uncontrollably strong connection over the course of their lives. Past Lives has an autobiographical touch and offers a memorable cinematic experience well worth having. How many love stories can say they've spanned decades and crossed borders? The overall feeling here is almost ethereal and memory-like but also achingly earthly, which makes this drama alluring and emotionally rich. The director, who goes off the beaten path to film the very deep essence of a platonic relationship, nourishes this tone of disillusion and unfulfillment that coats the entire film. It’s all for an intended purpose. 

The story follows inseparable childhood friends Na Young and Hae Sung, who, at the age 12, lose track of each other when Na Young emigrates with her artist parents to Canada. 12 years later, they reconnect again through Facebook - she lives in New York, works as a playwright, and changed her name to Nora (Great Lee); he remained in Seoul all those years but plans to learn Mandarin in China. Despite acting like lovers, they lose contact once again due to distance and career commitments. Another 12 years have passed and they finally meet when Hae Sung (Teo Yoo), who works a regular job, visits New York. She’s now married to Arthur (John Magaro), an American writer. How will they react to this confused state of affairs? 

Past Lives is keenly observed, expertly mounted, and marvelously acted. The build-up gains slow momentum but once it finds its rhythm, the film takes off to positively devastating places that will make your heart grow three sizes while watching it. Distilling its charm with delicacy and introspection, this is a work of refreshing maturity. The director treads through heartfelt territory with authenticity and a no-holds-barred understanding of the complexities of the situation.

EO (2022)

Direction: Jerzy Skolimowski
Country: Poland / Italy

The ingenious 84-year-old Polish director Jerzy Skolimowski, who directed peculiar dramas such as Deep End (1970), The Shout (1978), and Four Nights With Anna (2008), returns with the spectacular EO. Centered on the life of a donkey, the film makes for a unique and rewarding cinematic experience, conjuring up Robert Bresson’s masterpiece Au Hasard Balthazar (1966) while heading away from it by designating its own philosophical anthropomorphism and sensory-charged experimentation. 

The film is challenging, not too obvious, and delineated with multiple levels of human complexity. It’s a disconsolate portrait of humanity in the guise of a donkey’s journey painted with red-filtered dreams, life instinct, a lot of resilience in the face of adversity, and inescapable freedom, which is also the essence of Skolimowski’s enthralling cinema. 

The exquisite cinematography by Michael Dymek (Nocturnal, 2019; Sweat, 2020) is absolutely stunning, pairing up with Pawel Mykietyn’s adequate score, and Isabelle Huppert shines a light by the end as a wealthy French countess who faces emotional dilemmas.

The humor, dark enough to merit special attention, arrives unexpectedly in batches, making this moving ballad of fate and suffering even more irresistible. EO sounds an alarm for animal mistreatment while taking a painful look at the malice and cruelty present in our brutal society. Deservedly awarded in Cannes, the film establishes a connection with the viewer, sending us back violently to our mediocrity.

Aftersun (2022)

Direction: Charlotte Wells
Country: UK / USA 

From the first sequence of Aftersun, the remarkable directorial debut by Charlotte Wells, when the 11-year-old Sophie (Frankie Corio) asks her dad, Calum (Paul Mescal), if his current life matches the one he dreamed of when he was her age, one can tell that something is wrong. Father and daughter spend some good time together in a resort in Turkey. It’s clear that Calum, who is in his 30s, will soon leave home and his family. Having a strong bond with Sophie, who shares a deep understanding of his volatile emotional states, he does everything to make their summer vacation perfect. But every little annoyance seems to affect him more than it should, and his mood darkens as the days go by.

There’s a languishing warmth here but also something so sad and melancholy that we feel it deep inside our chests. Watching this is like having a constant lump in your throat; memories that break your heart; a nearly consummate rendering of an affectionate remembrance. It’s a genuinely moving and mature film where the precision of feelings and the subtlety of the states of mind are precious. After acknowledging the success of the Scottish director, both in form and content, I felt the urge to revisit her film and extract more from the remarkable simplicity and delicacy with which is made. Everything here suggests an autobiographical story, but personal or not, the result is so complete and with a contemporary bent that the names of Joanna Hogg and Mia Hansen-Love crossed my mind.

Aftersun is a ripe, sensitive and slightly mysterious drama film served by great actors and crystallized by a rigorous staging and a deeper sense of observation. Evolving slowly but with enchantment, the film will reward patient viewers with its magnificent unfolding and nostalgic conclusion. Crediting Barry Jenkins, the director of Moonlight and If Beale Street Could Talk, as one of its producers, and boasting a stunning soundtrack, Aftersun is simply memorable at all fronts. The purity of look makes it a 2022 highlight.

Tár (2022)

Direction: Todd Field
Country: USA 

Earnestly told and entirely convincing, Tár is a masterstroke by Todd Field, a director always on the lookout to take the viewer into breathtaking emotional whirlwinds. Inactive since 2006 (after masterful dramas such as In the Bedroom and Little Children), Field will make people wondering if the film was actually inspired by real events, such is the precision of detail and exactitude of information - the film starts with a marvelous interview with the New Yorker’s journalist Adam Gopnik, in which we learn Tar’s considerations about time in music, interpretation and feelings.

Elegantly mounted, his tale of intrigue works like a thriller, presenting us an intelligent post-pandemic journey, whose protagonist - an interesting yet desensitized avant-garde female conductor seriously inspired by Gustav Mahler - exerts abuse of power, tricky manipulation and favoritism. It's bursting with brainy tension, machinations and emotional turmoils, grabbing us from start to finish. The main reason for the film success is Cate Blanchett, who delivers a rock-solid, high-class performance, illuminating every single shot with her acting prowess. For now, I couldn’t think of any other actress than her for the Oscars. 

Just like the music by Hildur Guðnadóttir, the cruel learning story penetrates our soul with entrancing captivation and ravishing violence. The overall story arc is realistically complemented with surgical dialogues and striking visual compositions in a timeless contemporary drama to be remembered for its immense qualities. One can finally rejoice with what have been missing from the movies these days: authenticity and intelligence.

The Quiet Girl (2022)

Direction: Colm Bairéad
Country: Ireland 

The Quiet Girl, a warmhearted Irish drama of superior quality, chews over love and care, enhancing their positive effects on the development of a young girl. The film is a mark of extraordinary promise from Colm Bairéad, a debutant filmmaker whose future works we want to keep an eye on. 

Employing a powerful simplicity in the process, Bairéad tells the story of Cáit (Catherine Clinch), a restrained and sensitive 9-year-old girl who tries to hide from everybody. Both her mood and behavior change completely during the summer of 1981, when she leaves her impoverished, dysfunctional family to spend a couple of months on a farm with estranged relatives (Carrie Crowley and Andrew Bennett).  

Generating empathy and honesty at every second, The Quiet Girl is a memorable film, not only for the way it’s mounted, but for going against the trendy themes of pessimism, hatred, dystopia, and chaos that consume most of the movies made today. The frames are captured with a rare sensitivity that makes you read and feel the protagonists’ emotions. For this particularity, much contributed the impeccable performances from all members of the cast, a surefooted direction, and an outstanding cinematography.

As subtle and delicate as an affectionate embrace, this is a beautiful film, whose story provides a heartbreaking insight into the different roles people may have in one’s life. The medium is love, and you always feel when it’s present or not. The exceptionally controlled storytelling avoids excessive pathos, but don’t feel surprised if the gracious, bittersweet finale moves you to tears.

This is Not a Burial, it's a Resurrection (2022)

Direction: Lemohang Jeremiah Mosese
Country: Lesotho / South Africa / other

41-year-old filmmaker Lemohang Jeremiah Mosese was born in Lesotho, a small country entirely landlocked in the territory of South Africa. Being the first representative of his country in terms of cinema, he stands out with This is Not a Burial, it’s a Resurrection, a remarkable work in which he directs a mix of professional and non-professional actors. The heroine of this poignant meditation on the new and the old, tradition and capitalism, birth and death, is the 83-year-old South African actress Mary Twala, who commands the screen with authenticity and simplicity.

She is the forever-mournful Mantoa, the oldest person in Nasaretha, a small remote village nestled in the mountains of Lesotho. When the construction of a dam threatens to submerge the valley and the graves of her ancestors, Mantoa takes the lead, becoming a fierce symbol of resistance in her community. The poetic and moving portrait of this woman and her people is enhanced here by the beautiful natural settings. Judge the magnificent shots for yourself. Some of them feel almost biblical, like the one with the old woman surrounded by sheep in the ruins of a house consumed by fire; or the one she dresses up with clothes given to her by her late husband, waiting and praying for her day to come. 

Hypnotic and haunting from start to finish, the film is ultimately so genuine it's hard to resist. The tragic story it holds deeply shakes, provoking a deep feeling of injustice and helplessness. We feel we are seeing a fair attempt to deal with real facts, a world ready to collapse at any moment. All my heart was with Mantoa, an admirable fighter whose courage is unforgettable. This is a lucid and rare survival cry.

You Won't Be Alone (2022)

Direction: Goran Stolevski
Country: Australia / UK

Sharply crafted with a fabulous style and hair-rising tone, You Won’t Be Alone is the impressive feature debut from Australian-Macedonian writer-director Goran Stolevski, who shows high quality in the way he handles the story. And because of that, his future works will automatically be put on my watch list. More interested in deepening the ominous vibes of chilling folklore than startling us through wild scenes, Stolevski signs one of the most striking films about witchery of the last decade. 

The film thrives with impeccable acting, accuracy in the settings, intelligence in the script, and powerful social commentary. It comes with pleasures big and small. Set in a mountainous Macedonian village in the 19th century, the story starts with the kidnapping of a baby girl by an ancient spirit (Anamaria Marinca). Marked to be a witch, she grows up in the depths of the earth, fated to follow the evil being that took her away from her real mother. When the time comes, this now-adult woman learns about her bloody necessities, the art of shapeshifting, and how to dress in corpses. However, an exceptional curiosity about what it feels to be human makes her choose societal ‘prison’ instead of merely killing for blood. 

The production values are outstanding, starting with the first-class cinematography by Matthew Chuang (he gives us wonderful fields of depth and close ups) and ending with the outstanding score by Mark Bradshaw. The fascinating You Won’t Be Alone grabbed me and didn't let go until the very last minute. It’s absorbing, enigmatic and satisfying in ways that are out of the ordinary.

Azor (2021)

Direction: Andreas Fontana
Country: Switzerland / Argentina / France

Meticulously observed and presented with a pronounced sense of discomfiture, Azor is a perceptive, slow-burning thriller that exposes a fragile Argentina in the middle of a bank crisis and torn apart by an austere dictatorship. 

The year is 1980. Yvan De Wiel (Fabrizio Rongione), a Swiss private banker from Geneva, arrives in Buenos Aires with his supportive wife, Inés (Stephanie Cléau). His purpose is to regain the trust of his clients after the sudden disappearance of a charismatic partner, René Keys (Alain Gegenschatz), while operating in the city. Displaying hopes and insecurities along the way, De Wiel soon learns about the rumors that Keys was eccentric and depraved. He brings a list of important contacts with him, including the confrontational Anibal Farrell (Ignacio Vila), the accessible widow Lacrosteguy (Carmen Iriondo), the bitter Augusto Padel-Camon (Juan Trench), the risk-taking Monsignor Tatoski (Pablo Torre Nilson), and a mysterious person called Lazaro. What’s great here is that one has to slowly dig for answers until reaching a final conclusion. 

Among many admirable aspects, I’m hopelessly smitten with the filmmaking process, which makes every scene subtle, methodical and unnerving. I’m compelled to mention that this is the first feature by Andreas Fontana, and under his command, the film unfolds through realistic, powerful acting all around. Yet, acting-wise, it’s Rongione (the Belgian actor who earned credibility with the Dardenne Brothers) who stands out, breathing honesty while portraying a sober and attentive gentleman. 

Azor is an intriguing and fascinating account with a few crossroads and an unimaginable finale. It’s one of the year’s most cohesive films, and it holds up to repeated viewings.

The Tragedy of Macbeth (2021)

Direction: Joel Coen
Country: USA

The peerless American filmmaker Joel Coen (Barton Fink, 1991; Fargo, 1996; No Country For Old Men, 2007) goes solo for the first time in The Tragedy of Macbeth. Apparently, his brother Ethan resolved to retire from making movies, if not forever, at least temporarily. Shakespeare’s Macbeth is a widely known tragedy that has been taken to the screen by equally adroit directors such as Orson Welles (1948), Akira Kurosawa and Roman Polanski (1971), who, with their own vision, depicted the ambition, guilt, fate, and human suffering that mark the work.

The plot here remains unaltered, but this stylistically somber version got all the moments one would wish for, becoming a vehicle perfectly tailored for Coen’s peculiar eye, Bruno Delbonnel’s finely calibrated black-and-white photography, and strangely captivating performances by Denzel Washington as the powerful Scottish general-turned-tyrant Macbeth, and Frances McDormand as his scheming wife.

Wisely framed, the film is a feast of oblique catches, unexpected architectural forms, and misty Scotland landscapes where the characters appear and disappear in the fog. The minimal settings make the characters look like giants in huge empty rooms; their shadows projected on the walls to a creepy effect. Viewers are, in this sense, subsumed into Coen’s perspective, having the opportunity to enjoy entrancing moments of wicked conspiracy, madness, and ruthless killing. 

The Tragedy of Macbeth is at once wonderful and exasperating; a demented and beautiful delight shaped with risk-taking boldness and considerable maturation in the proceedings. As the Witches would say, “seek to know no more” and watch the film yourself.