22 Movies Like Eyes Wide Shut (1999)
Chasing the feel of watching Eyes Wide Shut ? Here are the movies we recommend you watch after Eyes Wide Shut (1999).
Adam Sandler, though currently imminently marketable, incredibly played out and boring, used to be a real actor. This is the film by which his legacy will be judged, where we see the funnyman drop the mask and actually show real feelings besides bumbling rage. Sandler's hurt and confused performance is beautifully vulnerable and true and is complimented by P.T. Anderson's incomparable direction (the man behind Boogie Nights and There Will Be Blood), creating a true masterpiece of American cinema. This beauty also stars Philip Seymour Hoffman and Emily Watson.
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.
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.
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.
What Lynne Ramsay's Ratcatcher intentionally refuses to give you by way of plot or resolution, it more than makes up for in sharp visuals, a beautifully sparse score, and an unscratchable feeling of restlessness. It's a downer for sure, watching 12-year-old James hounded by guilt as he navigates the mundane bleakness of his everyday life. But in every detail and in every interaction he has in this rundown scheme in Glasgow is a window into the simple joys James wishes he could be enjoying. The more trouble the boy walks into, the more the guitar string tightens, and the more you wish something could finally break the cycle. There's still beauty even in these conditions, Ratcatcher tells us—but it isn't right that anyone should have to live like this.
Ever wondered how much your life will change when faced with the reality that death is about to come? That’s normal, and not nearly as life-altering as being told you only have a few more moments to live. Because of a terminal illness, Uxbal (Javier Bardem) is driven to this situation and tries to right his wrongs in the wake of modern Barcelona. This melodrama is supercharged by Bardem’s unearthly performance as the story’s only hero, demonstrating the selfless love of a destroyed and dying father to his children – paired with cinematography unlike any other, this film is exceptionally beautiful. Directed by González Iñárritu' (Babel, Birdman, The Revenant).
There are comfort food movies, and then there are films like Big Night: comfort food movies about comfort food. Stanley Tucci and Tony Shaloub are brothers running a failing Italian restaurant. Their last chance to save it from foreclosure is to throw a colossal dinner bolstered by a dubious promise of a visit from singer Louis Prima.
The comedy is mellow and pleasant, and Tucci and Shaloub have wonderful chemistry as bickering brothers. Meanwhile, a great supporting cast featuring Isabella Rosellini, Ian Holm, and Allison Janney more than make up for the somewhat predictable script.
A man returns to a town chasing the memory of a woman he loved years ago.
Poet turned filmmaker Bi Gan coats his idiosyncratic filmmaking with a thick layer of neo-noir in this sumptuous follow up to his remarkable debut Kaili Blues. This time around, Kaili City is a neon-drenched dreamscape dripping in style and calling to mind the work of Tarkovsky and Wong Kar-wai.
He may wear his influences on his sleeve, but Bi Gan keeps his trademark moves like the bravado long takes and a poetic disregard for past and present, reality and dreams. This leads to an explosive and unforgettable sequence in the second half that while originally intended for 3D loses little of its mind-bending power when watched at home.
This is a hard movie to describe, but I’ll do my best without giving too much away. The movie takes place in three separate segments that eventually come together. Half of the story takes place in Germany, half in Turkey, with almost all of the central six characters spending time in both countries while either searching for each other or trying to redeem themselves. Daughters search for their mothers (and vice versa) and one character’s actions will eventually bring everything more-or-less full circle. The film is as much about the characters though as it is about the cultural exchange happening between the two countries. If you have even a passing interest in films from this part of the world, I recommend giving this one a try.
Chinese artist Ai Weiwei directs his attention towards the ongoing refugee crisis, the biggest displacement of people since World War II. His documentary is apolitical and tries to focus on the human side of the picture. It's not a news report or a commentary on the causes of the situation. Instead, it's a combination of heartfelt stories spanning 23 countries that showcase people's battle for dignity and basic rights. A truly epic movie complemented by impressive drone footage that's as impressive as it is sad.
The 2008 film Doubt offers a haunting peek into the crisis of pedophilia within the Catholic church. Featuring an all-star cast of Amy Adams, Philip Seymour Hoffman, Meryl Streep and Viola Davis, it is more than just a fictional tale. With performances that will make you question your intuition and cast a shadow of doubt on your own instincts, Doubt is a difficult film to grapple with.
I fell in love with this film very early on into the duration of it because it was so honest and it allowed the characters to navigate the nature of their suspicions. With Doubt, however, comes denial, and Viola Davis’s eight-minute monologue is simply smeared with it. Doubt is a fantastic story that has left me stunned for over a decade.