High Life is a vision of the future as bleak and feverish as director Claire Denis’s 2013 thriller Bastards.
The film’s troubled aesthetics are exacerbated by a screenplay that contains the trappings of amateur toil.
Satyajit Ray’s final films ably maintained his predominant thematic concerns and commitment to humanistic storytelling.
The mannered goofiness of The Chess Players echoes the pastoral comedy of Days and Nights In the Forest.
The film has the lightness of touch and narrative fluidity that’s pure, inimitable Ray.
Bitter Moon is a brusque reminder of the sexually tormented, nihilistic Polanski we know and love.
Think of the film as Roman Polanski’s Who’s Afraid of Virginia Woolf.