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The Gleaners and I (2000)
7.7/10on IMDb
Released
Varda follows people who collect what others leave behind while allowing her own looking, ageing and small-camera experiments into the film. The encounters keep the essay from becoming an abstract proposition about waste. Curiosity and self-questioning work together: Varda is present, yet leaves room for each subject to redirect the conversation.
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The Zone of Interest (2023)
7.3/10on IMDb
Released
Domestic arrangements and sounds beyond the frame create a disturbing split between what is visible and what is being done nearby. Glazer makes that division the film's working form, demanding attention to the conditions of ordinary comfort beside atrocity. The consistency of that separation makes ordinary comfort hard to look at innocently. Facing the sounds outside the home becomes the viewer's responsibility.
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Anora (2024)
7.4/10on IMDb
Released
Sean Baker lets the momentum of an apparent escape keep colliding with who has money, access and the authority to end an argument. Mikey Madison's performance gives the shifts in tone an emotional centre. This is a recent, provisional inclusion for its control of comic chaos and vulnerability, with explicit sex and sustained coercive pressure part of the experience.
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One Battle After Another (2025)
7.6/10on IMDb
Released
Paul Thomas Anderson makes pursuit, political performance and a vulnerable family relationship share an elastic, often darkly comic rhythm. The changes in speed and attention keep the large set pieces connected to people whose competence is uncertain. It enters provisionally for that present-tense filmmaking achievement, without asking a recent film to possess a legacy it has not had time to acquire.
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