Commandingly executed as ever, Michael Haneke’s study of love’s ultimate transcendence defies expectations with compassion for its characters and respect for its audience, says Catherine Wheatley.
Romanian writer-director Cristi Puiu follows up The Death of Mr Lazarescu with a slow-burning depiction of a serial-killing spree, starring himself. Ryan Gilbey feels complicit.
Paul Thomas Anderson’s film of two portraits (the Beatnik and the Scientologist) has a great film rattling around inside it; it’s easily the best movie this year to talk about, says Nick Pinkerton.
James Bond hobbles home, heralded by a Turner painting and soundtracked by Lord Alfred Tennyson – or thereabouts, finds Henry K. Miller.
The Nine Muses director continues his odyssey into the presence of the past in this mesmerising installation tapestry of hand-me-down films, photographs, paintings and more, finds Laura Allsop.
An amateur insider’s portrait of life under Israeli occupation, Emad Burnat’s video testimony carries a stark, indignant urgency, finds Philip Kemp.
