A father tries to marry off the daughter who’d rather stay to care for him, as they struggle to reconcile traditional duty with modern individualism. Despite the American Occupation’s censors, Ozu gently underscores the tension in a country reckoning with its identity.
As a rudderless med student races for a train to Warsaw, we see three radically different courses his life could take if he caught or missed it. In each timeline, he gets swept along with the people he meets, prioritizing party loyalty, political resistance, or domesticity in a search for direction. As much as he tries to exert control, random events have unexpected consequences.
ANNA: Why don’t you just kill us?
PAUL: Don’t forget the entertainment value. You’d deprive us all of our pleasure.
Haneke exposes our hunger for tidy entertainments where we watch violence from a safe distance. Extending that impulse to its logical, horrible conclusion, he rubs our face in the real human cost, and asks us to take ownership of what we really want to see.
As a band of villagers runs sheep across the mine-ridden Turkish-Syrian border, one smuggler is torn between what he owes his community, his son, and himself as a man. Akad champions education as a means to a better future while mourning the loss of a simpler past, as a modernizing, greedy system makes good men into outlaws.
The Bri-terion Collection
I’m loving the Criterion Channel streaming service, so every week I’m going to share my favorite new find.