The Second Act (2024)

Direction: Quentin Dupieux
Country: France

The comedic style of prolific French director Quentin Dupieux can often oscillate between the amusingly absurd and the frustratingly inconsequential. While Daaaaaali! (2023) fell short of convincing, The Second Act emerges as a surprising, satirical triumph. With its playful mise en abyme and elaborate form, the film delves into the world of cinema, where actors revolt against a script they deem mediocre. To make everything more insane, they are being directed by artificial intelligence, which also wrote the script.

The stellar and assured cast—Léa Seydoux, Vincent Lindon, Louis Garrel, Raphaël Quenard, and Manuel Guillot—are in complete control, and the story gains perspective and weight in their capable hands. The real fun of the film lies in its blurring of boundaries between representation and reality, leaving viewers guessing as the layers of fiction intertwine and collapse. Even lacking full dramatic meaning, it sneaks up on you. Yet, you should doubt everything you see and hear. 

Unapologetically, Dupieux skewers the egos and absurdities of the film industry, tackling issues such as homophobia, technology's encroachment on creativity, and the tension of strained relationships—all with his trademark irreverent humor. The Second Act demands to be seen, preferably with an audience that doesn't know what it's in for. It’s the kind of cool and kooky narrative that leaves you walking out of the theater feeling like you've seen something special, even if you can't quite figure out what that ‘special’ was. 

The film owes everything to its gifted actors coping with the provocative ideas of a script that becomes a therapeutic trust exercise of their own. This ferocious, dichotomous masquerade is never boring.

His Three Daughters (2024)

Direction: Azazel Jacobs
Country: USA 

His Three Daughters, the seventh feature by Azazel Jacobs (The Lovers, 2017; French Exit, 2020), is a skillfully crafted chamber drama with richly drawn characters and a credible story. Set in a New York apartment, the film revolves around three estranged daughters who gather at their dying father’s home, bracing for his imminent passing. 

Rachel (Natasha Lyonne) is a heavy weed smoker who has been living with their father and apparently seems disconnected of everything and everyone. Katie (Carrie Coon), in stark contrast, is rigid, irritable, and excessively controlling. Christina (Elizabeth Olsen), the most conciliatory of the three, is more emotional and never complains about life. Little by little, we learn their cracks, their feelings, and certain aspects of their relationships that allow us to have a nuanced perspective on their shared history and personal struggles. These revelations build toward a restrained yet poignant finale.

While the story is undeniably familiar, Jacobs transforms it into a deeply absorbing experience, imbuing the film with both soul and bitterness. All three leads do quality work in a 100-minute showcase of talent, portraying complex and worth meeting characters.

Death becomes one of the tragic figures in this scenario, and there’s something in the creative spark behind Jacobs’ vision that sets it apart. His look at sisterhood isn’t intended to be perfect, opting instead for an honest portrayal of clashing personalities and the ways they soften in the face of shared grief. Although you won’t find anything unexpected here, a naturalistic tone is maintained throughout, which crackles with an emotional energy and cackles with a repentant laughter.

Caught By the Tides (2024)

Direction: Jia Zhangke
Country: China 

Jia Zhangke’s Caught By The Tides unfolds as a bitter love story told through the director’s signature style. Although paced deliberately, the film reveals new layers with every frame, marked by Zhangke’s keen vision and unobtrusive camerawork, precise editing, and eclectic soundtrack. This culturally immersive drama was crafted from footage shot over 22 years, forming a docu-fiction tapestry that reflects China’s rapid transformations—emotional, social, political, and technological—in the 21st century. 

Zhangke often opts for silence, inviting the viewer into moments of quiet contemplation. The linear plot is punctuated by mesmerizing landscape shots that emphasize the uniqueness of each setting. At the heart of the film is Qiao Qiao (portrayed by Zhangke’s muse and wife, Zhao Tao), a model and club dancer from the northern city of Datong, who embarks on a journey to find her long-lost lover, Bin (Li Zhubin). He left in 2000 seeking better work opportunities, promising to send for her, but vanished without a trace. The couple eventually meets up again in 2006 in Fengjie, and in 2022 back in Datong, completing a 22-year narrative cycle. 

There’s an indestructible link between past, present, and future in the film that makes us experience time and place in a peculiar, nostalgic way. Zhangke’s filmmaking style is powerful and honest, and his ability to constantly surprise the viewer without resorting to the slightest artifice is remarkable. Emotion and melancholy intertwine in a fascinating yet heartbreaking story delivered with a mixture of modesty and sensitivity. 

Since the early 2000s, I've been captivated by Zhangke’s contemporary cinematic vision—films like Still Life (2006), A Touch of Sin (2013), and Mountains May Depart (2015) have left an indelible mark on me. I knew Caught By the Tides would not disappoint, as a raw emotional power permeates the entire film.

My Favourite Cake (2024)

Direction: Maryam Moghaddam, Behtash Sanaeeha
Country: Iran 

Iranian filmmakers Maryam Moghaddam and Behtash Sanaeeha bring us My Favourite Cake, a tragicomic romantic drama set in Tehran and starred by Lily Farhadpour and Esmail Mehrabi. Farhadpour portraits Mahin, a 70-year-old widow who, feeling stifled by loneliness and routine, decides to seek her personal freedom in a society closely monitored by the regime. Her journey brings her to Faramarz (Mehrabi), a divorced taxi driver and former soldier who mirrors her isolation. Their unexpected and spirited romance blossoms with ease; their dialogue feels natural, and their expressions of joy are vibrant. Love and optimism breathe new life into their world, casting their future in a hopeful light. But is there really a future for them? 

The basic plot is infused with immeasurable joy and overwhelming sadness in equal measures, relying on the warmth of its characters and beautifully crafted imagery that radiates light and life. Mahin and Faramarz quickly become endearing to the audience, their happiness infectious as their one-night connection grows more meaningful with every frame.

My Favourite Cake offers an enriching blend of heartfelt storytelling subtly woven with political undertones expressed through repressed emotions, ethical conflicts, and the constant vigilance of nosy regime loyalists. Awarded at the Berlinale, this film presents a stirring and genuine portrayal of romance later in life, a slice of life that resonates deeply. Unfortunately, the directors were unable to attend the festival to receive their awards, as Iranian authorities confiscated their passports and imposed travel bans.

The Seed of the Sacred Fig (2024)

Direction: Mohammad Rasoulof
Country: Iran

Iranian filmmaker Mohammad Rasoulof is renowned for his fearless critique of Iran's authoritarian regime and the oppression, injustice, and restrictions that haunt his homeland. His acclaimed films — The White Meadows (2009), Manuscripts Don’t Burn (2013), A Man of Integrity (2017), and the Golden Berlin Bear-winner There Is No Evil (2020) — have been deemed ‘propaganda against the system’, leading to his imprisonment twice before he ultimately fled to Germany. Rasoulof’s new film, The Seed of the Sacred Fig, an outstanding family drama and political thriller, follows in this brave tradition, winning both the Jury Special Prize and the FIPRESCI Award at Cannes. The idea for the story first came to Rasoulof while in jail, inspired by the Woman, Life, Freedom Movement in Iran.

The film, a tense closed-door family drama that surprisingly veers into paranoia-fueled thriller, was entirely shot in secret. With taut precision and anchored by riveting performances, this nearly three-hour epic keeps viewers on edge as it dissects both patriarchal and societal authoritarianism with sharp insight, highlighting the powerful struggle of young women and students for freedom. Rasoulof’s unflinching camera captures so well this clash between the parents' rigid conservatism and the children’s pragmatic visions for change. 

Offering content that is frightening on a deep and dark level, The Seed of the Sacred Fig packs an absolute cinematic punch that draws viewers into its mesmerizing spell of madness, obsession, and resistance.

Crossing (2024)

Direction: Levan Akin
Country: Georgia / Turkey / other

Crossing is a poignant drama about identity, regret, and resilience. For his fourth feature, director Levan Akin (And Then We Danced, 2019) draws inspiration from a real-life story—a Georgian grandfather who chose to support his transgender granddaughter, defying the rest of the family. The film, rooted in heartbreak and sadness, offers us a different perspective though, presenting a heartfelt plea for acceptance while offering a narrative grounded in love and hope. 

Akin, of Georgian origin but born in Sweden, shapes his characters with remarkable accuracy and decisive detail. Surprisingly centered and measured, he avoids exploiting the emotional weight of the story or shying away from its depth, offering valuable insight into the challenges faced by trans communities. 
The storyline revolves around Lia (Mzia Arabuli), a retired history teacher from Batumi, Georgia, who embarks on a journey to Istanbul in search of her long-lost niece. Her companionship with a young man, Anchi (Lucas Kankava), who is also searching for his mother and a better life, makes the trip feel less lonely. 

Crossing is crafted with some rough, heartbreaking moments but also with a level of intimacy that makes it engrossing and profound. The lead performances are phenomenal, with the chemistry between Arabuli and Kankava imbuing the narrative with authenticity. Together, they elevate the film into powerful, earthy drama likely to captivate hearts and minds.

Rebel Ridge (2024)

Direction: Jeremy Saulnier
Country: USA

Rebel Ridge is a gripping crime thriller written and directed by Jeremy Saulnier, who, despite exploring new tones, remains true to the spirit of his filmmaking style. In his fifth directorial effort, Saulnier delivers a taut, intense film that keeps viewers hooked from start to finish, brimming with a sticky, vicious atmosphere and a relentless sense of unease. At its core, the film tells the story of a man doing what’s right in the face of injustice. 

The director has an ace up his sleeve in the form of Aaron Pierre, who, making use of an impressive restraint, gives a convincing performance as Terry Richmond, a former Marine who tries to bail his cousin out of jail in a broke, small American town where police corruption reigns. To confront the provocations of Chief Sandy Burnne (Don Johnson) and his racist crew, Richmond, who silently boasts a particular set of skills, welcomes the assistance of a young lawyer (AnnaSophia Robb) marked by a troubled past. 

Though the script may not dive deep into complex layers, Pierre’s portrayal of a decent man, disrespected and pushed to his limits, lends emotional weight and authenticity to the film. Saulnier, known for the brutality and darkness of Blue Ruin (2013) and Green Room (2015), opts for a more measured approach here. He crafts a thrilling ride filled with suspense, permanent tension, and tight action sequences. Rebel Ridge moves with confidence, combining raw intensity with a streamlined narrative that evokes a modern Rambo. It’s a well-executed crime thriller that positions Saulnier as a rising master of the genre, offering a dynamite-packed summer hit.

Didi (2024)

Direction: Sean Wang
Country: USA

Didi is a thoughtful and heartwarming coming-of-age comedy-drama that offers a slice of Asian-American life, marking the debut of Taiwanese filmmaker Sean Wang, who also wrote and produced. The film draws on his personal experiences growing up in the Bay Area, delivering an authentic and emotionally rich narrative.

Set in Fremont, California, the story follows 13-year-old Chris (Izaac Wang) who grapples with family tensions, the awkwardness and insecurities of first love, and guilt over past mischief. At the same time, he navigates the complexities of friendship, discovering a passion for videography and skateboarding. An introspective posture mixed with inopportune words creates challenges in expressing his true self.

Chris’ struggles are presented with realism and relatability, immersing viewers in the embarrassment and cringe-worthy moments of adolescence as he tries to carve out his own identity. Didi delivers both funny laughs and meaningful moments. It’s an understatedly charming little movie that hits the mark; a debut with a real heart that radiates vulnerability, resilience, and authenticity, offering plenty of pleasurable rewards.

The performances are the heart of this observant film bolstered by a sharp-witted script that explores and examines teenage angst and frustration. Wang is certainly someone with a promising future, layering all the dramatic elements with poise and weaving together humor and drama into an engaging story that feels both personal and universal. The competent cast, which includes Joan Chen as Chris’ single mother, gives us reasons to care about the characters in this gratifying contribution to on-screen cross-cultural teen environment.

The Goldman Case (2024)

Direction: Cédric Kahn
Country: France

The Goldman Case is an insightful, raw, and nervy courtroom drama set in the mid-‘70s that fascinates as much for its portrayal of an era as for its exploration of justice. Directed by Cédric Kahn (Red Lights, 2004; The Prayer, 2018), it’s a semi-autobiographical work based on the second trial of Pierre Goldman (masterfully portrayed by Arieh Worthalter), a far-left militant accused of four armed robberies and the murder of two women. Facing life imprisonment, Goldman is defended by a passionate young lawyer, Georges Kiejman (Arthur Harari), who, like him, is a Polish Jew born in France to a modest background. The accused concedes to the label of “gangster” but vehemently denies being a murderer, asserting his innocence in the ambiguous killings. 

The film begins discreetly, almost academically, but gradually imposes its rigor and style. Goldman’s case hinges on a shaky alibi, conflicting witnesses, and affecting testimonies from his girlfriend and father. Justice is explored in its very human giddiness when no scientific proof comes to its rescue, and aspects such as racism, anti-Semitism, xenophobic police, and more, emerge in its complex societal forms. 

Kahn collaborated with Nathalie Hertzberg in the screenplay, choosing to fictionalize elements by blending Goldman’s two trials and drawing from his book. Yet, the film is so well directed and intensely acted that it's hard not to take it. It values speech without grandiloquence and avoids dramatic flourishes while exposing the fragility of truth and the difficulty of judging. It's a pleasure to get wrapped up in such a thoughtfully conceived and stirringly executed reconstruction, one delivered with gripping rhythm, fervent passion, and a clear form. With The Goldman Case, Kahn signs his most memorable film to date.

Janet Planet (2024)

Direction: Annie Baker
Country: USA

The feature debut of filmmaker Annie Baker, Janet Planet, is an absorbing drama that deserves your attention. Set in rural Massachusetts in 1991, the film poignantly captures the emotional complexities and uncertainty of a volatile single mother (Julianne Nicholson), who works as an acupuncturist, and her lonely, highly dependent 11-year-old daughter (Zoe Ziegler). Their lives are momentarily altered by the arrival of three different people, leading to a story that is both patiently observant and ultimately caustic. The film provides an unnervingly naturalistic look at a teen's life, anchored by convincing central performances, with the potent chemistry between the mother and daughter being crucial to the film’s success.

Janet Planet earns its dramatic moments through strong writing, unexpected outcomes, and a nice restraint. The film effectively contrasts the maturity found in some of the conversations between mother and daughter with the imbalance of some of the mother’s choices. Despite being presented in an unhurried, episodic manner, the nearly two-hour runtime never feels sluggish. The screenplay's subtlety and quality stand out, maintaining a steady yet delightfully quirky tone throughout. 

It’s safe to say that Baker has a promising career as a filmmaker and storyteller ahead of her, as all the elements are assembled with prudent sincerity, building a story that is both touching and deeply affecting. Janet Planet is a rare gem, so earnest in its approach that it resonates with a poignant, almost painful, honesty.

There's Still Tomorrow (2024)

Direction: Paola Cortellesi
Country: Italy

Paola Cortellesi, widely recognized in Italy as a TV presenter and comedian, as well as for her diverse roles in film, television, and theatre, makes a powerful directorial debut with There’s Still Tomorrow. This black-and-white feminist manifesto, which she co-wrote and stars in, is a bold political comedy-drama that confronts patriarchy head-on. It channels the spirit of classic Italian cinema, evoking the pink neorealism of directors like Luigi Comencini and Dino Risi, all while overflowing with style and determination. 

Set in the 1940s, the film strikes a delicate balance between laughs and tears as it follows the challenging life of Delia (Cortellesi), a hardworking woman who endures daily physical abuse at the hands of her obnoxious war veteran husband Ivano (Valerio Mastandrea). Instead of voicing her suffering, Delia chooses to silently endure the pain and quietly save money, all while plotting her own form of resistance. 

Infused with a quiet yet righteous anger, the film is caricatural in many ways, disguising the scenes of brutality with romantic songs and dancing moves. It even facilitaties a bit here and there in terms of plot, but remains compelling, vivid, and intoxicating. With its strong visuals and a crucial message of resilience and hope, this film holds nothing back—and what’s not to love about that?

Cortellesi shines, addressing the sensitive topic of domestic violence with tact and a deliberate avoidance of melodrama, opting instead for a slightly offbeat tone that is further enhanced by the film's anachronistic soundtrack. The surprising ending takes viewers to a completely different direction, and I was amazed how much I started to care about the main character. There’s Still Tomorrow drives home a narrative that is both deeply engaging and impactful, successfully resonating with audiences while delivering a powerful message of women’s emancipation.

Terrestrial Verses (2024)

Direction: Ali Asgari, Alireza Khatami
Country: Iran

Terrestrial Verses, a directorial collaboration between the multi-awarded Ali Asgari and Canada-based Iranian-American filmmaker Alireza Khatami, shares several thematic strings with Abbas Kiarostami’s 2002 docufiction Ten. However, while Kiarostami’s work was centered only on women, this project includes men, presenting a series of nine vignettes that expose injustice, absurdities, and intolerable abuse of power. Shot in seven days and produced by the directors at their own expense, the film captures the essence of an oppressive system through the experiences of nine ordinary citizens of Tehran interviewed by authorities.

Among the most compelling stories are a confrontational teenager punished at school for arriving with her motorcyclist boyfriend, a young woman seemingly caught driving without hijab, two shameful job interviews (one laying bare sexism and the other religion-based discrimination), and a desperate filmmaker whose work, based on true events, is censored from start to finish. It’s a fine blend of realism, cynicism, and humor.

Following conceptual simplicity, Terrestrial Verses is minimalist in its visuals but cathartic in its dialogue. This pain-filled satire does so many things, all of them well. Opting for explicit directness, it forces the viewer to look straight into the eyes of victims of a controlling and toxic Iranian society marred by austere religious and political principles that serve only those in power. Films like these are important, denouncing oppression in the hopes of achieving freedom, in a relentlessly clever middle finger to baseless censorship. Although fictionalized, this accessible and defiant film offers enlightening insights into contemporary Iran.

The Bikeriders (2024)

Direction: Jeff Nichols
Country: USA 

Jeff Nichols (Mud, 2012; Take Shelter, 2011; Loving, 2016), who has retained his exceptional talent both as a director and storyteller, gathers a formidable cast for his new film, The Bikeriders, a crime drama inspired by the 1967 photo book of the same name by Danny Lyon. The latter accompanied a group of bikers, The Vandals from Chicago, from the mid-sixties to the early seventies. 

Playing central roles, we have Jodie Comers, who absolutely marvels here, Austin Butler, and Tom Hardy. They are competently supported by Michael Shannon (in his sixth collaboration with Nichols), Mike Faist as the photographer and interviewer, and Damon Herriman. The well-imagined plot follows the members of a motorcycle club that gradually turns into a violent gang of thugs, signaling a significant change in times. 

The Bikeriders desperately wants to say something about a lost America, a golden era that is gone forever. It leads to a lacerating conclusion but refuses to abandon the ray of hope that keeps things moving forward. Shot with a retro look and posing like an old classic, the film draws inspiration from works such as Easy Rider (1969) and The Wild One (1953). 

With a sparkling bright first part contrasting with a darker second, the film never feels manipulative, following a narrative path that is thoroughly engaging. Depicted with a certain nostalgia, this is a furiously lucid slice of American cinema, intelligently constructed and handsomely executed. Don’t hesitate to hit the road with these nervy fellas.

Green Border (2024)

Direction: Agnieszka Holland
Country: Poland / other

With shades of her mentor Andrzej Wajda in her filmmaking style, Polish director Agnieszka Holland (Europa, Europa, 1990; In Darkness, 2011), an important figure of the Polish New Wave movement, turns her gaze to immigration in a mesmerizing odyssey comprised of four parts. The narrative involves a Syrian family and an Afghan woman trying to cross the forest that separates Belarus from Poland, a border guard consumed by guilt, and a group of activists who welcome a psychologist turned staunch supporter of their humanitarian cause. 

By filming in black and white with vision and nerve, Holland accentuates the realism of a painful crisis that exposes the worst side of human nature. Green Border is a tense affair, as dark and swampy as the forest landscapes and governments involved in its narrative, providing viewers with a disturbing scenario of racial prejudice and shocking indifference. Noble-minded in its revelatory disclosures, this tough-to-take look at the plight of migrants seeking asylum in the European Union overflows with passion, artistry, and rage in a segmented, formal structure that coheres.

The ensemble cast is solid, hitting the right emotional notes and building credibility with scenes that are Holland’s earnest attempts to bring to the world a harrowing chapter of her country’s history. The contemporary topic adds to the film’s urgent appeal in a social and political rant that, refusing to let hope go, confirms Holland as an incisive and influential filmmaker. Green Border was distinguished in seven categories in Venice, including the Special Jury Prize and Best Film in a Foreign Language.

Humanist Vampire Seeking Consenting Suicidal Person (2024)

Direction: Ariane Louis-Seize
Country: Canada 

Humanist Vampire Seeking Consenting Suicidal Person, the feature debut by Montreal-based filmmaker Ariane Louis-Seize, is a fine blend of dark vampirism, comedy, and coming-of-age storytelling that stems from her need to tame her own anxieties about death. The director, who collaborated with Christine Doyon on the script, found great success in the excellent performances of Sara Montpetit and Félix-Antoine Bénard.

Rising star Montpetit, whose skills had come to fore in Maria Chapdelaine (2021) and Falcon Lake (2022), plays Sasha, a sensitive young vampire who refuses to kill humans for sustenance, opting instead for blood bags carefully prepared by her parents. Her rejection of her nature and subsequent diagnosis with PTSD raises concern within the family, leading her to live with her cousin Denise (Noémie O'Farrell). While forcing herself to hunt, she bumps into Paul (Bénard), a depressive, bullied, and suicidal boy with whom she falls in love, shares similar dark inner struggles. 

Sharply edited by filmmaker Stéphane Lafleur (You’re Sleeping Nicole, 2014), the film, as dark as it is touching, is filled with surprising depth, sharp humor, and melancholy strangeness. The offbeat undertones suit the dichotomy between life and death as well as the non-conformist romance. This is a fable of elegant despair, an instant entry in the vampire canon that feels refreshingly gothic. Louis-Seize opts for a stable camerawork, while the gorgeously nocturnal cinematography by Shawn Pavlin fits hand in glove. The soundtrack is the cherry on top, and Montpetit’s powerful work dazzles and moves us. The vampire tale survives!

Hit Man (2024)

Direction: Richard Linklater
Country: USA 

Flirting with film noir and sly romance, Hit Man is the latest film by Richard Linklater (Boyhood, Before trilogy), who directs it with down-to-earth awareness from an insightful script he co-wrote with the leading actor, Glen Powell. The story, based on the 2001 Texas Monthly magazine article of the same name by Skip Hollandsworth, gracefully balances tension and mordant wit. 

Powell portrays Gary Johnson, a philosophy professor and tech nerd who works undercover for the New Orleans police as a fake contract killer. His task, carried out thoroughly, consists in closing deals with the ones who try to hire him and then arrest them. Everything runs smoothly until one day he breaks the protocol to help Madison Figueroa (Adria Arjona), a desperate woman trying to escape an abusive husband. Their instant chemistry leads them into a dangerous game with unpredictable outcomes.

Flowing with a comfortable pace, the narrative reminds you how bonds between people may change you unexpectedly and drastically. Linklater, showcasing his versatility and effortless cinematic approach, has taken a familiar premise and imbued it with a unique identity, a notion explored here in a darkly comic way. Despite its unequivocally amoral nature, I found myself cheering on the protagonists’ lawlessness.

Hit Man is breezily acted, consistently funny, often charming, and noir enough to provide a great time in the theater.

Civil War (2024)

Direction: Alex Garland
Country: USA 

In Alex Garland’s latest film, Civil War, a tale of courage unfolds against the backdrop of a dystopian landscape ravaged by chaos. Led by renowned war photojournalist Lee Smith (Kirsten Dunst), a small group of journalists, including Reuters reporter Joel (Wagner Moura), embarks on a perilous journey across a fractured country to interview the authoritarian US President in Washington, D.C., before the city falls to rebel forces. Accompanying Lee and Joel are veteran NY Times journalist Sammy (Stephen McKinley Henderson), considered too old for the mission, and aspiring photojournalist Jessie Cullen (Cailee Spaeny), who flagrantly tags along. 

The tense narrative predominantly draws from violence and human cruelty, yet it doesn't forsake humor, extracting it from unexpected situations. Little is explained about the motivations of the factions involved in the conflict, but there’s a stark warning about the consequences of extremism instead. While critical of war obsession and racism, the film emphasizes the neutrality of the journalists as they navigate the chaos with determination and addictive voyeurism.

Departing from his previous sci-fi works like Ex Machina (2014) and Annihilation (2018), Garland injects furious nihilism in his staggeringly realistic depiction of a near-future setting that, as it should, leaves audiences feeling exhausted and wrung-out. Flawless performances, including a notable appearance by Jesse Plemons as an ultranationalist militant, combined with a timely soundtrack featuring songs by Suicide and De La Soul, and a powerful score by Ben Salisbury and Geoff Barrow, contribute to the film's impact. Civil War is a stone-cold stunner that captivates from start to finish.

Perfect Days (2023)

Direction: Wim Wenders
Country: Japan / Germany

Acclaimed German director Wim Wenders (Alice in the Cities, 1974; Wings of Desire, 1987; Paris Texas, 1984) returns to Japan - where he filmed Tokyo-Ga nearly 40 years ago - to shoot Perfect Days, a simple and endearing tale co-written with screenwriter Takuma Takasaki. Drawing inspiration from Ozu's filmmaking style, Wenders crafts a narrative characterized by nuanced circularity and a gentle pulse, offering a film that soothes the soul rather than warping the brain.

Koji Yakusho portrays Hirayama, a quiet and hardworking public toilet cleaner residing alone in Tokyo. Despite his solitary lifestyle, he finds joy in nature, photography, literature, and ‘70s rock music, cherishing the beauty in life’s little details. With a sweet shade of detachment from the real world, the humble Hirayama transmits the pure bliss of being thankful for everything he has, searching for beauty in every aspect of his daily routine. However, his tranquil existence is disrupted when his estranged niece, Niko (Arisa Nakano), unexpectedly pays him a visit, coinciding with tensions arising from his young assistant, Takashi (Tokio Emoto), who has fallen in love.

Yakusho delivers a pitch-perfect performance, carrying the weight of the narrative with ease, while Wenders approaches the story with a sense of politeness, eschewing flashy theatrics. Undeniably, the film's power lies in its restraint, opting for hopefulness over heartbreak and exuding a strange yet beautiful gentleness of spirit. Perfect Days unfolds with airy grace and poetic substance, masterfully composed in a minor key that never feels repetitive or aggressive in its narrative cycle. Not seeking to impress you, this amply generous and pure cinematic gesture will probably touch you in the heart.

Ennio (2024)

Direction: Giuseppe Tornatore
Country: Italy 

This illuminating, elucidative, and enthralling documentary delves into the life and work of Ennio Morricone, the most popular and prolific composer of the 20th Century. Directed by Giuseppe Tornatore (Cinema Paradiso, 1988; The Legend of 1900, 1998), the film establishes a genuine closeness with the artist. Classic in form yet highly informative, it is neatly structured and strikes a perfect balance. Tornatore skillfully intersperses interviews with key figures such as filmmakers, musicians, screenwriters, and collaborators, alongside insightful footage fragments from Morricone's different career phases.

Throughout the documentary, viewers uncover treasures from the legendary composer's journey. Morricone's father initially envisioned him following in his footsteps as a trumpet player, never imagining he would become one of the greatest film scorers in history. Described as enigmatic, discreet, serious, crazy, and innovative, Morricone candidly discusses his frustrations and triumphs, expressing only one regret: not collaborating with Stanley Kubrick on his 1971 masterpiece, Clockwork Orange. Despite grappling with criticism and feelings of guilt due to his involvement in film, the composer pushed himself even harder, consistently displaying originality and a penchant for experimentation.

Ennio takes audiences on an emotional journey without descending into melodrama, partially thanks to the masterful editing by Massimo Quaglia and Annalisa Schillaci, who keep things fluid and interesting. After watching this documentary, viewers may find themselves drawn deeper into Morricone's brilliant soundtracks and compelled to explore his musical genius further.

Fallen Leaves (2023)

Direction: Aki Kaurismaki
Country: Finland

Aki Kaurismaki’s Fallen Leaves, titled after the original French song "Les Feuilles Mortes" composed by Kosma/Prévert, is an affecting art house romantic comedy and social reflection that resonates as a cry from the heart, ultimately radiating more warmth than desolation. With his unmistakable style, Kaurismaki strikes a wonderful tonal balance, infusing the narrative with deadpan humor, poignancy, and hope, offering an understated yet deeply affecting piece of amusement for an autumnal afternoon. Fallen Leaves can be viewed as the lost fourth installment in Kaurismaki’s proletariat trilogy, following Shadows in Paradise (1986), Ariel (1988), and The Match Factory Girl (1990).

At the heart of the story are two loners: Ansa (Alma Pöysti), a hard-working supermarket employee disturbed by war news on the radio and yearning for change in her daily routine, and Holappa (Jussi Vatanen), a depressed metalworker who appreciates solitude, vibrates with American rock n’ roll, and struggles with alcoholism. Their chance encounter at a local karaoke bar sparks an immediate attraction, but their differences become apparent as Ansa refuses to live with a drunk, while he rejects any form of authority. As they navigate obstacles and setbacks, fate seems to continually postpone their chance at happiness.

Grounded in realism without descending into sordidness, the film captures with honest eye a loving couple in their simple, everyday setting. There’s an empathetic embrace of retro and kitsch aesthetics, underscored by tragic songs and a cinematography as clear as crystal. The actors effortlessly embody their characters’ quirks with authenticity. Stripped of romantic idealism, love in Fallen Leaves is depicted as introspective, deep, and gentle - a plea for compassion and understanding that feels timeless. 

Kaurismaki emphasizes human resilience and the value of love with his filmmaking gestures, in an absolutely gorgeous and hugely affirming love story. It’s one of those pure delights that’s hard to resist.