When driving home from southern Tunisia, Fares and Meriem's car is hit by a stray bullet during an ambush by an armed group; their young son Aziz's liver is punctured. At a local hospital, the need for a transplant uncovers a secret that risks Aziz's life should a donor not be found in time. But this is only the beginning of the unexpected twists in a story so deftly crafted that it offers both a probing look at Tunisian society's anchored social and legal realities, and an unshakable need to ask yourself what you would do in the same situation.

Neon-lit shimmer accents this damning self-portrait of an artist in decline: Joe Gideon (Roy Scheider) stands in for Fosse, a passionate, overworked, womanising choreographer running on fumes and headed for destruction. This tragically self-reflexive pose nabbed Fosse a Palme d’Or in 1980, along- side nine Oscar nominations and four wins.

Molly Reynolds directs this documentary in which Gulpilil gives us first-hand insight into the confusions and chaos that occur in the clash between Yolngu culture and White Australia: "No one from any government has ever known our language. ... How can they know us?" IMDB: Australian Aboriginal actor David Gulpilil (Charlie’s Country) returns to his Arnhem Land hometown with filmmaker Molly Reynolds to explain ‘what happened to my culture when it was interrupted by your culture’.

When Barbarella, armed only with her innocence, is sent to find a mad scientist who threatens to bring evil back to the galaxy, she is leaving a society that has moved beyond money, war, and even sex. So it is with surprise when she discovers—out in the barbarous backwaters of Tau Ceti—that some old ways are the best, especially when it comes to human connection.

Arch meta narrative and proud exploitation drive De Palma as he reinterprets Hitchcock classics to giddily seedier ends. A down-on-his-luck actor loses all sense of self and spies on a seductive neighbour—when her life is threatened he finds a perversely motivated purpose that leads him into a world of sex, violence, and the strikingly familiar porn-star Holly Body. Rear Window meets Vertigo meets Frankie Goes to Hollywood.

De Heer visited David in Berrimah jail and persuaded him to make this semi-autobiographical film, which won him Best Actor for Cannes Film Festival’s Un Certain Regard category. His portrait of Charlie, the impoverished 60-year-old who once danced for the Queen, is authentic, heartbreaking and suffused with dignity and his indomitable spirit. IMDB Blackfella Charlie is out of sorts. The intervention is making life more difficult in his remote community, what with the proper policing of whitefella laws now. So Charlie takes off, to live the old way, but in so doing sets off a chain of events in his life that has him return to his community chastened, and somewhat the wiser.

A spoiled rich girl on the run travels with a reporter looking for a news scoop.

The saga of a German immigrant based on Franz Kafka’s unfinished ‘Amerika’; a United States out of place or time but defined by an intolerable and irrational cruelty. A tragedy of complacency seen through an engaging vision of strong compositions, still frames, and long takes that involve the viewer intimately, as we weed out an ongoing crisis of hypocrisy.

David Mitchell’s audacious book of nested, interconnected stories, woven across hundreds of years and exploring ideas of reincarnation and the universality of human nature, is adapted in wild and epic style by the Wachowskis and Tom Tykwer, who both improve on the source material and craft some of the most idiosyncratic filmmaking of their respective careers.

This adaptation of JG Ballard’s novel garnered almost as much controversy upon its release as the book did in 1973. After getting into a serious car crash, a TV director discovers a subculture of symphorophiliacs: scarred, omnisexual car-crash victims who use traffic accidents and destruction to fuel their palpably raw sexual energy.

Two multinational corporations are entangled as they vie over the financial control of interactive 3D anime pornography, trading spies to infiltrate, seduce, and sabotage. Assayas explores a desensitisation to violence and the problematic nature of globalisation in this neo-noir tech thriller starring Connie Nielson, Chloë Sevigny & Gina Gershon. Soundtrack by Sonic Youth.

De Palma at his most bloody, exploitation marvel that sees the lives of sexually deprived housewife Angie Dickenson, her psychiatrist Michael Caine, her geek son Keith Gordon, and upwardly mobile hooker Nancy Allen connected via the gleam of a cutthroat razor. While controversial for its time and arguably moreso today, every pinched nerve and blind-corner is a reminder of a heightened reality of suspense and melodramatics one shouldn’t take so seriously.

Australia is at times hard to recognise when seen through the eyes of a pair of ageing Hong Kong immigrants, after they move in with their daughter and navigate suburban life with their two youngest sons. Meanwhile, another daughter lives in Germany and a son remains in Hong Kong. The film explores the different ways the family members cope with change and isolation.

For Anat, music is everything. Having never been able to reach her father's musical standards, she rests her hopes on the child she's about to have. When the baby is born deaf, Anat succumbs to extreme measures to keep the dream alive.

Documentary exploring the life of the prodigiously talented fashion designer, Halston, who reigned over the fashion world in the 1970s and became a household name. But everything changed in the Wall Street era. With his empire under threat, Halston took the biggest gamble of his life...

Schrader’s sophomore directorial outing is perhaps one of his most person- al, with George C Scott—a strict Calvinist patriarch entering a grimy under- world porn network to look for his missing daughter—standing in for both Schrader’s father, and arguably his own descent into the brutal realities of ‘70s New-Hollywood filmmaking.

Working on this film when the disaster of 3/11 hit Japan, Sono grounds Minoru Furuya’s existential manga in a tragic present, following a troubled highschool boy pushed to the edge when an earthquake destroys his town. Mass devastation becomes a shared background, characters coming together and coping as Sono knows best: with extreme and bloody violence.

It’s not hard to argue that Québéc’s Denis Villeneuve is the most important filmmaker working today and Incendies marks the moment the world took notice. After the death of their mother, a pair of siblings are tasked with delivering letters to an estranged father, and a brother they never knew they had. So emerge secrets involving terrorism, rape, and genocide as the pair uncover the connections of their family’s refugee past.

Detective John Klute, tasked with finding a missing chemical company executive, sets up in the basement of freelance call-girl Bree Daniels, tapping her phone in the belief she’s the nexus point of the mystery. Both Donald Sutherland and Jane Fonda, crackling with chemistry, are at the top of their game; Fonda went on to win a Best Actress Oscar for her performance.

Victor, a disillusioned sexagenarian, sees his life turned upside down on the day when Antoine, a brilliant entrepreneur, offers him a new kind of attraction: mixing theatrical artifices and historical reconstruction, this company offers his clients a chance to dive back into the era of their choice. Victor then chose to relive the most memorable week of his life: the one where, 40 years earlier, he met the great love.

Gulpilil gives dignity to this “Ozploitation” classic with its largely stock and ethnographically erroneous portrayal of the First Nations. In an on-set promo, its dazed and confused Hollywood star Dennis Hopper inadvertently malapropped an ideal description for these fictional people: “aboriginaries”. IMBD Synopsis: The true story of Irish outlaw Daniel Morgan, who is wanted, dead or alive, in Australia during the 1850s.

A former beauty queen and single mom prepares her rebellious teenage daughter for the "Miss Juneteenth” pageant in Fort Worth, Texas, a place where the legacy of slavery frequently makes itself felt. Both an illustration of how the hurdles women have to contend with are always worse for black women and a celebration of black lives.

Visiting his adoring nephew and his materialistic parents, Tati’s Monsieur Hulot is unleashed against the unending frustrations and comic ironies of a modernist France, pratfalling through architectural marvels that seem to have forgone function and comfort in favour of pure style and conspicuous consumption. A smash hit in France and abroad, discussions of design are at the forefront of this precisely constructed physical-comedy.

Tackling another unfinished work, Arnold Schoenberg’s atonal, avant-garde opera, to reinterpret familiar Bible story of a desert voyage into an almost surreal, confrontational experience—patterns come into focus before being jarringly broken, sudden bursts of energy that highlight the power of music and transplant the tale to a contemporary world of crises: without hope, without faith.

Namdev Bhau, a 65 year old chauffeur, who is tired of the noises in the obstreperous Mumbai City life and has completely stopped speaking, decides to leave everything in search for 'Silent Valley' which boasts of a naturally occurring phenomenon having almost a zero decibel sound level. On this journey he chances upon an exasperating 12-year old boy, who happens to be on his own solo expedition to the mystical "Red Castle".

People across Tokyo are killing themselves, each connected through the internet. A young cohort sets out to uncover the mystery while horror pervades the screen with a slow creep as ghosts invade their lives. But what unsettles the most is the ultra-prescient comment on the net’s unique ability to simultaneously bond and alienate, one which foments a loneliness that could be the end of us all.

Despite or because of his single line of dialogue, Gulpilil as the tracker Moodoo, is by far the most complex character in Phil Noyce’s politically important film, made at the height of Australia’s ‘history wars’, which brought world attention to the stolen generation. His tragedy, as an indentured servant, and sly subversiveness, are communicated by his face and body language alone. IMDB In 1931, three aboriginal girls escape after being plucked from their homes to be trained as domestic staff and set off on a journey across the Outback.

Julianne Moore gives a star-turn as housewife Carol White, overcome by suburban malaise manifesting as some unidentifiable, debilitating illness. Without hope for a cure she is consumed by the paranoias of wellness, and a personal-apocalypse unfolds without end. End-of-history horror that alarmingly reflects a contemporary world of paralysing fear-mongering and isolationism.

Samia (played by the César Award-winning Zita Hanrot) is the new vice principal at an inner-city school in Paris. Despite the school's poor academic record and the majority of its enrolment coming from Paris’ infamous Saint-Denis social housing tower blocks, Samia sees potential in all of them - taking a shine to Yanis, a bright but disillusioned teen with dreams of becoming a filmmaker. School Life is a laugh-out-loud, heart-warming look at the daily grind of High School.

A monster emerges from Tokyo Bay, an unstoppable force tearing a path of destruction with no time to understand or stop it before it evolves into something far more deadly: Gōjira. Kaiju tradition written within a hardlined rebuke of political incompetence in the face of disaster from Neon Genesis Evangelion’s Hideaki Anno with Godzilla alum and Attack on Titan director Shinji Higuchi. Picture of the Year, Japan Academy Prize 2017.

Margot Kidder stars as a pair of identical, once-conjoined twins: one fiercely protective, the other a blood-thirsty killer. When Jennifer Salt is the only witness to brutal murder, she’s entwined in a world of conspiracy and cover-up. Abject psychology, and nightmares come to life. De Palma’s first foray into horror and suspense is a lurid display of talent unmatched.

In what would become his final film, Fosse follows the tragically short life of model and actress Dorothy Stratton, an overnight sensation swiftly damned by men’s obsessions. Now far from his glamorous origins, Fosse depicts the death of the Playmate with a devastating and bloody inevitability: such beauty and innocence could never leave Hollywood alive.

Unforgettable as Fingerbone Bill, this was the first of many occasions when David had the whole world under his spell. A hit even in China and the USSR, here its deep and lasting impact on a young Indigenous generation is less widely known: As a girl, Natasha Wanganeen, now an actor herself, saw him on a TV set at Point Pearce Aboriginal Mission, and thought “he’s like me, I’m like him. And it made me feel good… he let me know I had a place here…Watching him be so happy and free and such a larrikin. That’s exactly us!” IMDB Mike is a lonely Australian boy living in a coastal wilderness with his reclusive father. In search of friendship, he encounters an Aboriginal native loner, and the two form a bond in the care of orphaned pelicans.

An often lovelorn Charity Hope Valentine takes on the world with open- hearted optimism in Fosse’s directorial debut; song-and-dance spectacle with a subversive, canny edge. Crossing between the studio barn-burner and the emerging grit of a New-Hollywood mode (with all the behind-the- scenes tribulations that entails), this once abandoned film is a newly, duly realised classic.

One of Australia’s most important films, the first in an Aboriginal language, is an all Yolngu work, facilitated by Rolf de Heer in close collaboration with Gulpilil, who narrates in inimitable fashion. The New York Times was enthralled by the playful wit and great yarn, but the death-dance sequence also offers the most profound insight into ancient human culture ever shot. IMDB: In Australia's Northern Territory, a man tells us a story of his people and his land. It's about an older man, Minygululu, who has three wives and realizes that his younger brother Dayindi may try to steal away the youngest wife.

A lively, behind-the-scenes look at the New York rare book world and the fascinating people who inhabit it. Executive produced by Parker Posey and featuring interviews with some of the most important dealers in the business, as well as prominent collectors, auctioneers, and writers, The Booksellers is both a loving celebration of book culture and a serious exploration of the future of the book.

A couple’s long-weekend retreat is interrupted by a nuclear whistleblower, dosed with radiation from a spill which threatens to poison the earth. His company is only interested in cover-up and they’re soon on his tail with a band of mercenaries and a few souped up cars. Ausploitation with a chemical glow, and an often overlooked thriller as kinetic as Mad Max.

Straub & Huillet’s feature debut dramatises the journals of Anna Magdalanea Bach, second-wife to Johann Sebastion, chronicling the final decades of their life together. Restrained photography becomes a deliberate point of contrast as frames overflow with ensemble musicians, bringing forth in full energy the majestic excess of Bach’s baroque compositions.

Rationalising his disreputable livelihood as a necessary commodity and public service, a pornographer finds himself caught between the mob, local authorities and his own desires, eventually becoming so disgusted by his business that he takes refuge with a mannequin. A dark comic satire, depicting an underbelly to the Japanese post-war economic ‘miracle’.

Igor is a fifteen-year-old who works for his father in a construction business outside Antwerp, which employs and ruthlessly exploits illegal migrants. When he is required to cover up a workplace death, the guilt-ridden boy becomes determined to care for the dead man's family against his father's orders. A film of wrenching moral quandaries and few clear answers.

A tracker again, but this time David is in a lead role. Rolf de Heer’s story, on one level a prequel to Rabbit Proof Fence, is more mythic, with archetypal characters and the at once distancing and heightening use of Peter Coad’s paintings and Archie Roach’s singing. It’s one of the great cinematic performances: his mock servile, bitterly ironic exchanges with Gary Sweet slowly crescendo to a finale that reveals him as a figure of godlike moral authority. Somewhere in Australia in the early 20th century outback, an Aboriginal man is accused of murdering a white woman. Three white men are on a mission to capture him with the help of an experienced Indigenous man.

Adapting Franz Kafka’s novel into dream-logic drama, Orson Welles considered this the best film he made. Anthony Perkins stars as Josef K, a bureaucrat accused of an unspecified crime who finds himself dragged into an increasingly surreal labyrinth of inane bureaucracy in an attempt to discover just what it is he is supposed to have done.

A satirical, experimental, leftist drama of collective obligation in the face of capitalist social destruction, Tout Va Bien fuses revolutionary art with an accessible structure. Shortly after the completion of this film, Jane Fonda made her infamous trip to Hanoi, which led Godard and Gorin to create a companion film, Letter to Jane, which screens following.

David (credited as Gumpilil) debuts in Nicolas Roeg’s extraordinary visual poem. The moment this charismatic and handsome 16-year-old strides into view, adorned with the lizards he’s just killed, is breathtaking. In some ways the symbolic burden he has carried since began here: does he represent the essence of Australia or the exotically Other? Two city-bred siblings are stranded in the Australian Outback, where they learn to survive with the aid of an Aboriginal boy on his "walkabout": a ritual separation from his tribe.

Claire, a 50-year-old divorced teacher, creates a fake Facebook profile of a 24-year-old woman. She finds a photo of a pretty young blonde and uses it. She has created an entirely fictional character, but why?

Antonioni’s only Hollywood film is a uniquely subversive portrait of existential alienation against the end of the radical ‘60s: so much so, it was buried upon release. Two lost-souls meet in Death Valley, their rebellious spirit naive and waning, but constructive in the face of what Antonioni sees as a violence inherently American, within both direct brutality and seductive consumerism. Can the ground hold, or does it all threaten to blow?