Chasing the feel of watching Climax ? Here are the movies we recommend you watch after Climax (2018).
This twisted movie is actually two movies, the credits even roll in between. The first half is gorgeous: talented dancers get together for a party and perform beautiful contemporary dance sequences. They introduce themselves through their audition tapes to join the dance group, but also through conversations at the party. The second half is less fun. It turns out someone had laced the sangria they've been drinking with a psychedelic drug. Not for the faint of heart or anyone who didn't like director Gaspar Noé's past movies (Enter the Void, I Stand Alone, etc).
This movie is gentle and utterly chaotic, intimate and massive, beautiful and ugly... it tries to be so many things and somehow pulls it off. It tells two stories parallel in time, based on the real-life diaries of two European scientists who traveled through the Amazon in the early and mid-twentieth century. Their stories are some of the only of accounts of Amazonian tribes in written history. The main character and guide in the movie is a shaman who met them both. At times delicate to the point of almost being able to feel the water, at times utterly apocalyptic and grand... to watch this movie is to take a journey through belief systems, through film... and to be brought along by cinematography that is at times unbelievably and absurdly beautiful. Meditative, violent, jarring, peaceful, luminous, ambitious, artful, heavy handed, graceful... it's really an incredible film.
Georgian dance has cut-throat competition: the art form is dying even within Gerogia, and to make it, dancers compete to join the one duo that represents the country. The chance finally comes and the spot opens up, igniting the hopes of performers from around the country. Mervan is one of them, a young dancer from a poor background who takes food from his restaurant job to feed his family. His main competition is a newcomer, Irakli, who also comes from a difficult background and hopes to secure the spot to provide for his ill father.
When their lives hang on them competing against one another, Mervan and Irakli fall for each other.
And Then We Danced is full of incredible dance sequences that add to the beauty of the romance at its center; but it's also a heartbreaking exploration of unfulfilled ambition.
The 400 billion (!) dollar industry of medical devices is director Kirby Dick’s latest fascination (Oscar winner Twist of Faith, Oscar nominated The Invisible War). This is one of those documentaries that will raise your awareness about a topic from 0 to I-should-do-something, as the number of victims and the negative impacts these devices are having are astounding. Of course, just like with any other careless American industries, greed, money, and lobbying are the culprits. This is an important watch that will probably come in very handy when you or a close one needs a medical device.
One of the sharpest horror films of the last decade, Julia Ducournau’s Raw follows in the footsteps of films like Carrie by translating coming of age anxieties into visceral full-throated terror. Justine is a beginner veterinary student leaving home for the first time. After a brutal hazing ceremony forces this young vegetarian to eat meat, she develops an insatiable hunger for flesh that begins to consume her.
Raw is as much an intense body-horror (not for the squeamish) as it is an astute psychological drama. Underneath its nightmarish sheen, Ducournau layers social commentary on sexuality, patriarchy, and deviance using the school’s sadistic initiations as metaphors for larger structures. All of this depth is paired with striking cinematography, crisp pacing, and an unforgettable performance from Garance Marillier as Justine.
A sweet and romantic German movie about two Berliners who meet randomly and go on a road trip to the south of Europe. It might seem like a silly premise but it's actually a philosophical movie, one that feels very realistic. The two characters debate human nature, politics, relationships, etc; almost throughout their trip. And they're played by excellent newcomers who ooze charisma and make the question of what will happen between them incredibly thrilling.
Three half-Puerto-Rican, half-white boys grow up in suburban New York in this personal movie shot on stunning 16mm film.
This movie follows the boys, often literally with the camera behind their backs, as their parents’ relationship goes through turmoil. The kids are often left unattended and have to fend for themselves. The beauty of We the Animals is illustrating how they grow-up swinging between the angry character of their father and the protective nature of their mother.
This is one of the best movies I’ve seen in a long time, and I think I loved it so much because I was able to relate and feel for the main character (one of the boys). I really hope you will too.
The Young Offenders is a comedy about two Irish teenagers who go on a 160km bicycle trip to salvage 7 million euros worth of lost cocaine. As they sit on a hill overlooking their city, they imagine what they would do with that money. The answer is building a house that has lava lamps, “big gold walls”, Spanish girls, and an English butler to wake them up every morning with the phrase “what’s happenin’?”. You get the vibe. It’s is a silly movie, although the premise is actually based on a real-life event where cocaine from a capsized smuggling boat washed up on the Irish coast. The Young Offenders wears its heart on its sleeve. It’s a sweet funny movie, half slapstick and half plot, which sports an infinity of highly quotable one-liners.
Director Zhang Yimou, who already has remarkable wuxia films like Hero and House of Flying Daggers under his belt, delivers another exceptional epic. Set during China's Three Kingdoms era (220–280 AD), Shadow revolves around a great king and his people, who are expelled from their homeland but will aspire to reclaim it. The story requires a fair amount of patience at first, as it slowly builds a world consisting of various characters with different motives, before the real action begins. The journey through Shadow is visually pleasing thanks to its stunning cinematography, impressively choreographed combat, and overall brilliant production design. Packed with sequences that will take your breath away, it is an inventive martial arts epic with one amazing scene after another.
It wouldn't be too far of a reach to evoke Kids (1995) while diving into Mid90s. But instead of taking on the HIV crisis, Mid90s is a much more tender, poignant reflection on coming of age in 90's skate culture. Jonah Hill, writer and director, examines the complexities of trying to fit in and the difficult choices one has to embrace individualism. From an opening of physical abuse to scenes of drug usage and traumatic experiences, Mid90s is a meditation not only on culture, but also a subtle examination of what it means to be human, to reach emotional and physical limitations, and to seek acceptance. Filmed in a 4:3 aspect ratio, Mid90s doesn't concern itself with grandiose filmography, but instead the aspect ratio almost reflects the tonal and metaphorical aspects played out on screen. With a smaller dynamic range of color and the familiar dust/scratches, the 16mm film compliments gritty and emotional moments of Mid90s. The emotional range of the film will take the audience from the depths of empathy to laughing out loud, but there is no compromise to the weight of each moment. Jonah Hill's directorial debut is beautiful in every sense of the word.
This 140-minute Brazilian drama is an epic and touching tale of two sisters torn apart. In 1950s Rio de Janeiro, Eurídice, 18, and Guida, 20, are inseparable, but their dreams soon take them away from each other, from their conservative family, and from Brazil.
After they are separated, each one of them believes the other is achieving her dreams when often the opposite was happening. Family betrayal, silence, and a suffocating social climate shatter the aspiration of the sisters but also highlight their strength.
Dogtooth is a bonkers tale about three teenagers who live an isolated life on their family’s estate due to strict rules set by totalitarian parents. Their vocabulary is limited and their perception of the world is strange. They’re taught that cats are bloodthirsty monsters, that disobedience is grounds for horrific punishment, and that the world outside the house will kill them.
Equal parts bizarrely funny and disturbingly terrifying, director Yorgos Lanthimos pulls no punches with this fascinating examination of authoritarianism. As usual with his actors, they are directed to deliver lines in a matter-of-fact, often even deadpan manner, making the escalating lies and deceptions more and more unsettling as the film goes on. Thimios Bakatakis’ cinematography also places the twisted tale in a home that has a somewhat dreamlike beauty.
Those who enjoy dark, comical situations told with dry humor will be amused by Dogtooth. Those who enjoy stories that quietly build up to gruesome conclusions will also be amused by Dogtooth. It takes a unique mind to depict nameless children being subjugated and stripped of the fundamentals of conceptualization in an isolated world, and treat it as an absurdist comedy rather than a flat-out horror film. Lanthimos does it.
What makes Apollo 11 stand out is its sharp minimalist approach, allowing the archival footage of the mission to the moon to speak for itself. It’s stunning to think that at one point or another we had collectively seen a bulk of the footage in this film, and yet somehow let it lay dormant until the moon landing had been reduced to black and white stills in our collective imaginations. Not only does this film reinvigorate the moon landing with the power that it once held, but it does so in a way that is more thrilling than anything the Marvel CGI wizards could muster. The vibrant score adds a layer of ferocious tension, while the breakneck pace gives the feel of a rollercoaster ride. If there is any fault to find here, it is most definitely with the film’s MAGA style yearning for a time and place that never existed. Spare us the teary-eyed patriotism and the clips of Nixon, a disgraceful criminal, and vile racist, yammering on about the world becoming one. Nevertheless, this is a fantastic example of why most biopics should just be documentaries and why the fanatical fear of spoilers is a tad silly. Spoiler alert: they land on the moon.
This mortifying stop-motion fairy-tale is inspired by the very real horrors of Chile’s Colonia Dignidad: a cult colony turned torture camp under the Pinochet regime. Presented as colony propaganda, the tale tells the story of Maria, a girl who runs away from the safety of the colony into the forest and takes refuge in a house with two pigs. What transpires is a gut-wrenching allegory for the rise of fascism, colonialism, and white supremacy.
The staggering animation which seamlessly shifts mediums from paper mâché to painted walls is a bewildering sight to witness. But it’s the synthesis of this boundary-pushing art and the underlying horrors it depicts, that make this stand as an unmissable cinematic event.