In the movie Brazil, our hero Sam Lowery (Jonathan Pryce) lives in a dystopian world that relies on the cold productivity grind of machines. He’s in a constant battle between the high-level dominating powers that be and the low-level beatdown scums of society. Saving him from complete misery is a recurring dream he has of a beautiful woman. There, nothing else matters but love, which fills his draining soul and makes his life seem worthwhile. 

The way director Terry Gilliam handles a serious matter in such a comedic way is fantastic, and the amount of thought and effort he puts into creating every single bit of existence in this film is mind-boggling. With Brazil, he succeeds in establishing his own style, making a mark for himself in an age when plenty of auteurs compete for mere recognition.

Fire of Love is a documentary that follows Maurice and Katia Krafft, a scientist couple who’ve dedicated their entire professional lives to studying (and marveling at) volcanoes. The two met at university and have been inseparable ever since, chasing explosions around the world until their death at the Mount Unzen eruption in 1991. 

The fiery passion the title refers to is as much about Maurice and Katia as it is about their dedication to volcanoes. Like any love story, it tracks how they were first wonderstruck by the formation and how that awe shaped their lives and led them to each other, as well as how they came to discover hard truths about it and dealt with the heartbreak that soon followed. 

Combining the breathtaking footage the couple left behind with lovely writing and artful animation, director Sara Dosa creates a moving documentary about passion, adventure, and the world itself. 

In a different change of pace, this biopic focuses on John Lennon’s reckless adolescence and family life instead of his soon-to-be iconic music. It brings an epic rockstar many of us have known our entire lives down to a more relatable level. The young Aaron Taylor-Johnston gives a very angsty performance which feels a little over the top at times. Anne-Marie Duff does comes off too flirtatious for a newly formed mother-son relationship but Kristin Scott Thomas outshines them all with her steely demeanor.

When Amin sits down for a tell-all interview about his troubling past, his memories come to life in vivid animation. Sometimes they are sweet and intimate, like when he recounts his time as a playful boy in a much freer Afghanistan. But often, they’re marred by the unbelievable horrors of refugee life. Now a successful academic and soon-to-be husband, Amin discovers the inescapability of his status and identity, the reality of which continues to threaten his safety to this day.

Relevant and vital, Flee sheds some much-needed light on an often-overlooked phenomenon. More than just displaying factoids and numbers, it relays the specific unease and constant vigilance that comes with fleeing one’s home. But as Amin’s story, it is also richly detailed and wonderfully personal; for all its harsh exposés, the film leaves enough room for Amin’s stirring realizations about love, identity, and sexuality.

Summer of Soul would already be remarkable if it was just a collection of some of the greatest live performances ever put to film. Boasting a roster that includes Stevie Wonder, Nina Simone, Gladys Knight, and Sly and the Family Stone, the nearly-forgotten 1969 Harlem Cultural Festival featured in the documentary was an all-star catalog of some of the biggest names in popular music, all at pivotal moments in their careers. Seeing them at the height of their powers, in front of a Black audience that meant so much to them, makes for an unexpectedly emotional experience.

But Summer of Soul also expands beyond the actual concert, using the Harlem Cultural Festival to represent a turning point in Black culture and history, especially after the death of Martin Luther King Jr. Through the film’s pristine, electric editing and gorgeous archival restoration, music becomes a communal act of mourning, a rallying cry to face the uncertain future, and a celebration of a people and a heritage continuing to fight against erasure and persecution.

An inspired by true events tale about an elderly Irish woman trying to find the child she was forced to give up many years earlier. Steve Coogan co-wrote the script and, though the base story is a tragic one, his special brand of very subtle, wry wit is apparent in the dialogue throughout. Judi Dench plays the mother who had kept her “sinful” past a secret for fifty years and, being Judi Dench, I don’t need to bother going on about her exemplary talent, suffice to say she’s charming beyond measure in the role. Steven Frears directs, as usual, deftly, and keeps the story compelling scene after scene, intensifying the emotions inherent to each, whether they be heart-warming, comedic, or outright enraging. Whoever decided to let Steve Coogan have his way with the script, it was a brave and wise choice and together this cast and crew have produced a wonderful and important piece of cinema.

“Sometimes even the wrong train takes you to the right destination”. In this thoughtful feature film debut by Ritesh Batra, we follow a lonely Indian housewife, Ila (Nimrat Kaur), as she tries to come to terms with a cheating husband, a stale relationship, and a dying father, while seeking love, attention, and appreciation through her cooking. One day, she sends out a special lunch to her husband, but her delivery goes to the wrong address. Spicy food is complemented with a spicy note and thus begins an unlikely and unique romance through the letters she packs in the lunchbox day after day. The man on the receiving end is Saajan, a middle-aged office worker, played by Bollywood star Irrfan Khan. With its delightful characters and beautiful acting, this was a huge success in India, but there is no reason to believe that this bittersweet, Mumbai-based story couldn’t be a hit anywhere in the world.

Fasten your seatbelts because this nasty little chase film will jerk the wheel when you least expect it, featuring balls-to-the-wall action and lots of Norwegian humor – dark humor that is. Based on a novel from the country’s most famous crime writer, Jo Nesbø, Headhunters is brutal, insane, and incredibly good. This twisting, turning thriller tells the story of a corporate recruiter (Aksel Hennie), who has a secret side hustle as a nightly art thief. He ends up being pursued by the charismatic Clas Greve, a Dutch businessman played by none other than GoT-star Nikolaj Coster-Waldau. And this plot summary is as far as you will get without the whole thing swerving into another direction. Headhunters does not slow down unless it wants to destabilise you further with simmering suspense. Like a Lars von Trier on speed, expect all the raw colors, emotion, and slightly off-kilter characters you want from a Norwegian production – and brilliant entertainment!

Revealing the gaps in the social safety net, I, Daniel Blake, is a tale centered around a blue collar worker navigating the welfare system in England. At a time where class and social mobility could not be more politically salient, this film calls into question the notion of the “citizen” and exposes the inaccessibility to the social protections in which one presumes entitlement.

At the forefront of this, is a heart-warming parable of paternal companionship between Daniel (played by Dave Johns) and a single mother – Katie – (played by Hayley Squires) who is wading through similar terrain. The acting in the film is unfathomably raw which cultivates the deepest source of gut wrenching compassion. Ken Loach has created a film that exposes the true power of empathy, leaving you feeling helplessly human.

The Great Beauty is a film of superlatives! Originally titled La Grande Bellezza, this movie by Italian star director Paolo Sorrentino is so replete with lush, opulent cinematography, it sometimes borders on sensory overload. Having won Best Foreign Language Film at the 86th Academy Awards, as well as the Golden Globe, and the BAFTA award in the same category, The Great Beauty is also a critics’ darling and an award-show sweeper – in addition to being hailed as Paolo Sorrentino’s greatest work to date.

Essentially a tragicomedy, it is both a study and a celebration of the hedonism and decadence of its main protagonist – the bon-vivant and modern-day Roman socialite Jep Gambardella (played by an electrifying Toni Servillo). Instead of honing the craft of writing, Gambardella at some point decides to become the self-proclaimed “king of high life” of Rome. After his 65th birthday, he experiences a shock that changes him for good, prompting him to look past the parties and the nightclubs and to discover the sublime beauty of his hometown, the eternal city. In this way, The Great Beauty is a meditation on art, regret, and pleasure – and Sorrentino’s love letter to Rome.