Hotel Salvation is a touching movie about a father asking his son for a last wish : let him die in the Holy city of Varanasi. This Indian drama will let you discover a modern Hindu philosophy, the power of the scenic Varanasi and the bonds of family. It faces the question of death in the light, gentle and humorous way that perfectly illustrates the contradiction in question: celebrating life while surrounded by death.
A beautiful and touching story about staying true to your inner morals and humanity in the middle of a raging war. Set during the conflict between Abkhazia and Georgia, Ivo (Lembit Ulfsak), an old Estonian farmer, takes in two wounded soldiers from opposite sides, who agree to not kill each other as long as they stay under Ivo’s roof. It’s not “Saving Private Ryan” heroic nor “Pianist” heartbreaking. Tangerines is instead a powerful movie in its simplicity, as the story evolves around 4 men and a crop of tangerines. Yet for some reason, it still tells the story of every war, and the people in it.
Good movies usually aren’t lengthy movies, unless we’re talking about cases like Toni Erdmann. It’s a supremely smart German-Austrian comedy that depicts the story of a Father-Daughter tandem in light of life’s weirdest, most inconvenient moments. Deciding to visit his daughter on a whim after his dog dies, Winfried (Peter Simonischek)—a man known for his outrageous pranks and many a disguise—flies to Bucharest. Ines (Sandra Huller), the daughter, buzzing with work to the brim in a very challenging job, to say the least, isn’t impressed. This leads to even more uncomfortable encounters as the estranged father poses as the title character, life coach to the disapproving daughter’s boss. On top of being a shrewdly observed and relevant movie, the brilliant writing by Maren Ade crafts something thoroughly enjoyable and heartfelt here, highlighting the importance of family bond in an oddly sweet way, and criticizing modern-day work ethic and the toll its taking on us. The beginning is a bit slow, but if you’re a bit patient you will be surprised how much this movie will reward you.
A quiet, smart and well-crafted movie by the much celebrated director Hirokazu Koreeda. Like his other work, notably Like Father, Like Son and Nobody Knows, it addresses family dynamics and how they surface. Once a successful writer, Ryota is now a private detective who spends the little money he makes on gambling instead of paying child support. His ex-wife and son are increasingly alienated by his behavior, until one day, during a storm, they all find themselves trapped in Ryota’s childhood home. Subtly touching on notions of inter-generational bond and tension – this is the kind of movie of which you’ll remember flashes long after you watch it.
A Kurdish-Iraqi immigrant runs into serious immigration problems as he tries to immigrate from France to England in order to be reunited with his girlfriend. Eventually he begins to train in swimming, in an attempt to swim the channel between France and England. Welcome is a gripping tale of tolerance as well as relationships between locals and immigrants. It also gives a great look into the shortcoming of the European immigration system, and will have you crying by the end of it, no question.
A seemingly well-adjusted Scandinavian Family vacationing in the French Alps experiences a frightening avalanche scare near the beginning of Force Majeure, thereby unleashing a cacophony of mistrust and anxiety as their dynamic is shaken to the core. This pitch black comedy from Sweden charts the steady disintegration of the family unit and the father’s psyche in particular, as his reaction to impending death leaves his family deeply questioning his masculinity and prioritization of their well-being. The stages of blame and negotiation play out with painful honesty, holding back very little in a manner that leaves the viewer supremely uncomfortable, as if eavesdropping on a neighbor’s personal affairs. The effect is unsettling yet stunningly honest and often laugh-quietly-on-the-inside worthy in its depiction of human vulnerability. Unlike many narrative films, the “climax” comes at the beginning of Force Majeure, with the remainder of the film acting as an extended denouement in the form of a measured, Kubrickian character study.