As soon as the epigraph that opens Eden Log appears on the screen, ‘So the Lord God banished him from the garden of Eden to serve the ground from which he had been taken’ [Genesis 3.23.], you know that you’re in for a sci-fi movie with metaphysical pretensions along the lines of Cube.
Review by Alexander Pashby

According to Lynch, a private screening of his debut film Eraserhead ended with Mel Brooks declaring, ‘You’re a mad man, I love you. You’re in’.
Review by Paul Huckerby

Based on the true story of the rapist and serial murderer Eisuke, Violence at High Noon is a detached and disturbing portrait of post-war Japan that owes much to the films of Alain Resnais and Robert Bresson in terms of its non-linear structure and its fascination with the amoral activity of the social outsider.
Review by John Berra

Imagine a time in the near future when memories could be transplanted to another human brain, or removed entirely. That simple premise is the key idea behind Chrysalis, the directorial debut from Julien Leclercq.
Review by Martin Cleary

Astra Taylor’s spot-on profile shows the extent to which Žižek is both intimidated by the responsibility his celebrity brings and irked by the impact it has on his intellectual standing.
Review by Pamela Jahn

The idea behind the film was to create a cinematic vehicle for Sun Ra’s mythology, linking the extra-terrestrial theme with the erudite Egyptian alchemy that played such an important role in the musician’s philosophy.
Review by Celluloid Liberation Front

Beastliness and clinical horror cohabit in Georges Franju’s wonderful Gothic fairy tale.
Review by Stephen Thomson

Nagisa Oshima’s 1960 The Sun’s Burial is a radically nihilistic portrayal of post-war Japanese youth.
Review by Sarah Cronin

While it might be considered less important or engaging than Nagisa Oshima’s later work, Night and Fog in Japan is a fascinating reflection on the dynamics of political movements in 1950s Japan.
Review by Martin Cleary

Bertrand Tavernier’s transposition of Jim Thompson’s disillusioned chronicle of Southern corruption to the moral quagmire of colonial Africa was an inspired choice.
Review by Paul Huckerby