China
One of the more poetic documentaries, I Wish I Knew is an ode to the impact one city has had, across so many decades, on so many lives.
There are plenty of reasons to recommend Wang Xiaoshuai’s So Long, My Son, but the greatness is infuriatingly just out of grasp.
Between bad dialogue, acting that feels as undeveloped as the characters, and an unfocused story, it’s no wonder Midway feels like a drag.
An Elephant Sitting Still exudes so much elegance, frame precision and ingenuity that it is destined to have a place in cinema.
if Abominable is any indication that Dreamworks is eager to reinvent their brand, bright things could be ahead for this powerhouse studio.
Velocipaster would have worked better as a short film. As is, it pulls itself into too many directions with random plot lines.
As much as Yang Chao’s film Crosscurrent has the look of a beautiful mystery, its quietness remains quiet and unnoticed and doesn’t manage to lead anywhere.
Ne Zha might not be the best animated film of the year, but China is getting awfully close in competing against Hollywood’s animated offerings.
One Child Nation is, without doubt, a criticism on blind acceptance of nationalism. In this way, it is an incredibly timely piece that absolutely must be seen.
American Factory excellently conveys the complexities of a culture clash, and is an insightful illumination of globalization.
Ash Is Purest White is a masterpiece of time and alienation. Aaron Berry examines the ways time affects the characters.
The only thing more surreal than the experience of going to see Bi Gan’s Long Day’s Journey Into Night is perhaps the movie itself.
The Farewell reveals Lulu Wang is a director to watch out for, but loses impact by leaving so many of the themes it wishes to explore unspoken.