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Lancelot du Lac

Robert Bresson / 1974 / France

I’m a big fan of Robert Bresson and Lancelot du Lac is exactly what I expected. It’s deliberately minimal; focused on personal and spiritual crisis. I doubt it’s everybody’s cup of tea but its greatest strength lies in its riposte to the exaggerated myth of the grail legend. The characters aren’t likeable. They shed blood as quickly as they shed each other because in honour lies no remorse. 

Where to begin with Robert Bresson?

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Ghost Dog: Way of the Samurai

Jim Jarmusch / 1999 / USA

This is a brilliantly realised existential thriller; a mash-up of classic noir, samurai revenge, and hip-hop. There are so few American films that pride themselves on taking inspiration from other cultures but Ghost Dog does exactly that. Brilliant characters. Brilliant dialogue. Deep and intricate. Such a simple testament to the strength of human spirit.

Trailer

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The Social Network

David Fincher / 2010 / USA

I don’t always get on with Hollywood biopics but it’s hard to fault the quality of editing, script, and characters involved in The Social Network. It adds plenty to the modern-myth that is Mark Zuckerberg, detailing him as a complex figure at odds with both himself and others. It also gives light to background figures who went unnoticed in the history of Facebook. Unfortunately, the film’s biggest fault is simplicity. Characters are fairly one-dimensional and too often it feels as if it's trying very hard to get us sympathise or dislike certain ones. This felt dumbed-down, as did its conclusion that money and friendship are incompatible - perhaps true but not explored in enough depth here alone. These issues hold it back from being brilliant, and perhaps that's the price it had to pay to find mass appeal, but overall it's a very well-written movie. The kind of quick, talky, stylised drama that writer Aaron Sorkin has made into a league of his own.

Trailer

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Mildred Pierce

Michael Curtiz / USA / 1945

This is a film I’ve heard a lot about and one I’ve freely dropped into conversation (usually when discussing female characters) so I thought I’d better get around to watching it. And I’m glad I did because it’s a fierce thriller. I feel the first half is stronger but there’s a venerable sheen to the stylistics all round, as good as any noir I can think of. Mildred is a complex figure; smart and independent yet lapse to see that her true enemy is maternal pride. The trip to discovering this is an utterly mesmerising and ultimately tragic tale of filial indulgence.

Great Sonic Youth song too.

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Jules et Jim

Francois Truffaut / France / 1962

This has the feel of a film that wants to create a new world for itself. The romantic friendship between Jules and Jim is lovely. The impulsivity of their love-object, Catherine is terrifying. The psychology of all three intertwines to build to a crescendo that feels almost like a thriller at times, constantly on the edge and looking for the safety. They each messily interrupt one another’s lives in constant ways while defining it as romantic virtue. While I didn’t love it completely, it moved me. I just can’t put my finger on why.

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Vivre Sa Vie

Jean-Luc Godard / France / 1962

Is it? Could it be? Oui, il est! Jean-Luc Godard’s despairing tale of a French prostitute’s tragic demise. Come for the beauty. Stay for the philosophy. Cry for the tragedy. Okay, it’s not my favourite Godard film but it’s still an amazing film. Interestingly, the film was produced shortly after Cahiers Du Cinema openly pronounced their love of Brecht, which probably helps to explain why the film is told in twelve segments.

Watch Nana dance.

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Lola

Jacques Demy / France / 1964

Wow this is an underappreciated gem! Jacques Demy debut film is an extraordinarily sensitive portrayal of fringe members of society in much the same way as any Truffaut or early-Godard film. It speaks of the whims of new romances, the long-lasting feelings of old ones, and nods towards the difficulties of finding happiness in others. Key is the way it doesn’t invite the audience to side with anyone; instead prompting us to sympathise with everybody as individuals. I also doubt seaside town of Nantes has ever looked better than with Raoul Coutard framing it.

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The Umbrellas of Cherbourg 

Jacques Demy / France / 1964

I didn’t love it but I liked the idea of all dialogue being sung. I also liked the juxtaposition between what should be a love story and tragic undercurrents war in Algeria. The plot is quite formulaic, though, and I had a bit of a hard time keeping interest. The colour scheme, however, is phenomenal. I feel like changing my entire wardrobe based on the film’s obsession with bright colours. Just beautiful.

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Loving Vincent

Dorota Kobiela & Hugh Welchman / UK / 2017

An unapologetic ode to the life and work of Vincent Van Gogh. The film is a slow-moving adventure taking us via his nephew Armand through the peoples and persons affiliated with the legendary Dutch artist shortly before his death in 1890. The narrative portrays each character warmly and always comes back to the subject of Van Gogh himself, as both a painter and a man. The hand-painted art-style is wonderful and affectionately recreates many scenes from his paintings. The only downside is that it can prove a bit distracting but the film is pleasant and easy-going overall.

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Lowlife Love 

Eiji Uchida / Japan / 2016

Sex sells. People sellout. The bottom of the Japanese film-industry is made of lowlifes and sharks. Interestingly, the film was also shot on a really low-budget to mirror its themes.

Trailer

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A Girl At My Door

Year: 2014 / Dir: July Jung / Country: South Korea

A Girl At My Door is a difficult and complex thriller. For the first half-hour, it plays out like a methodical police-drama before revealing itself to be a critical take on Korean society. Most notable is the main character, Lee Young-nam, who's unable to handle the difficulties of looking after an abused girl as well as her alcoholism. Eventually this begins to consume her, as does her sexual orientation, which is kept hidden for fear of prejudice by the local community. As a result, the film heavily is centred around the nature of LGBT rights, as well as organised crime. It couples this with characters unwilling to act or speak out despite the questionable nature of others and highlights an inability to help domestic abuse victims. 

Trailer

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Rebels of the Neon God 

Tsai Ming-liang / Taiwan / 1992

Really love this film. Teenage angst and boredom. One of Ming-liang’s best, with a great soundtrack to boot.

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The Wind Rises 

Hayao Miyazaki / Japan / 2013 Tell me Japanese boy, is the wind still rising?

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Cafe Lumiere 

Hou Hsiao-hsien / Japan / 2003 Here’s a bonus video I once made

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The World of Kanako (Kawaki)

Year: 2014 / Dir: Tetsuya Nakashima / Country: Japan

The World of Kanako is an insane movie. Often you get movies that are slightly insane but never over-step the mark fully. Well, this one does. It’s a hyper-stylised, bloodthirsty, marauding thriller that revels in excess. It leans towards characters whose unconscious drives turn them towards sheer madness and plays out like a twisted fairy-tale. It's an uneasy film to watch but it's hard not admire, especially if you're looking for something that talks about the darker side of human impulse.

Trailer

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Miss Hokusai 

Keiichi Hara / Japan / 2015 While Miss Hokusai isn't a major milestone in animation, it's an earnest film that I enjoyed a great deal. It's not afraid to portray larger-than-life characters in ordinary ways. It also successfully gets us to sympathise with young people struggling to form an identity for themselves. It’s bold and imaginative, and offers a respectful nod to the enduring influence of the Hokusai household as a whole. It's what I like to think of as a serious animation, though much like Hokusai himself, it doesn't always take itself too seriously. Trailer

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Journey To The Shore

Year: 2015 / Dir: Kiyoshi Kurosawa / Country: Japan

Journey To The Shore follows many of the themes director Kiyoshi Kurosawa has made his trademark up to this point. Most notable are the presence of otherworldly figures such as ghosts, as well complex psychological feelings that that stay long with us after somebody departs. Unlike some of his more well-known horror films, this film is a subdued affair, concerned less with scaring us silly and more with how people deal with grief. It asks how people deal with death, showing a strong essence of romanticism and melancholy by using simple camera techniques that evoke a sense of psychological struggle. While the plot can be a tad unstructured it uses a lot of concepts to pass comment on what would otherwise be taken as ordinary interpersonal dilemmas. 

Trailer