Few if any films I've seen in my life have been as painfully disturbing as this one, even "Salò" seems sweet and gentle in comparision. "Exhaustion" is a convincing study of psychological disorders and human destructiveness which actually benefits from its smudgy low-budget esthetics and features three haunting acting performances. Despite its evident qualities I doubt that I will sit through it a second time though.

An intriguing experimental film, some kind of “Finnegans Wake” of cinema that distorts and reinvents language while at the same time demanding a constant distrust in the convergence of image and sound. Well worth checking out, but: Abandon all viewing habits, all ye who enter here!

Hong's most hilarious film to date which mocks and ironically exaggerates various of the situations that occurred in his earlier works. The black and white images and settings remind of "Virgin Stripped Bare by Her Bachelors", though "The Day He Arrives" is told in a more straightforward fashion and Hong also integrates and brilliantly variegates some narrative devices he had been experimenting with in recent years.

A bleak portrait of desperate clandestine immigrants who are willing to cut and burn themselves in order to get rid of their fingerprints, "May They Rest in Revolt" provides an unsettling look at the challenges which countries like France or Britain have to deal with in the 21st century and highlights that expatriates are often being mistreated by overstrained officials.

Neither of the two alternative endings is satisfying, both seem rushed, but other than that the film can be regarded as a brilliant homage to the German Lefist films of Weimar Republic such as "Mother Krause's Journey to Happiness" and "Kuhle Wampe". Fassbinder's look at the possibilities of communism is obviously defined by the experience of APO and RAF and thus more incredulous than the films mentioned above.

In terms of sound design this is one of the greatest films I've seen (or rather listened to) so far, a perfect example of sensory overload and paranoia through constant media stream. In terms of political relevance I'd recommend "Germany in Autumn" instead, the earlier omnibus film also features a more sincere response by Fassbinder while this work can be understood as a calculated farce/provocation.

A brilliant and disturbing little film which anticipates Haneke's "Benny's Video", definitely a must-see from the early period of New German Cinema.

A wonderful melodrama, Brigitte Helm's transformation from the seductive vamp to the tragical heroine can be regarded as one of the outstanding performances of the silent era.

Disturbing as hell. This film makes "Irréversible" look like smooth entertainment.

They are regularly screened at a museum buried under the sea which can only be accessed during low tide.

Frank Giering's death gives this film even more tragical dimensions. A psychological horror trip that reminds of "2/Duo" and "Who's Afraid of Virginia Woolf?", likely the greatest German film of the 2000s which I've seen at this point.

One of the finest German films of the 1980s, and reminiscent of the contemporary works by French directors such as Rohmer and Rivette. I'm glad it finally found its way into the database.

I'm really wondering what happened to that horse...

This is kind of reminiscent of the Korean film "Take Care of My Cat", though far more depressing. While title and poster art allude to playful escapism which modern youth tends to favor, it's actually a trap layed out to confront them with disenchanting reality not unlike the urban alienation expressed in Tsai Ming-liang's films. Certainly one of the most accomplished and relevant Japanese films of the past decade.

"Disorder" is a masterful documentary which deliberately ignores given rules and regulations while recreating a tableux of multiple footage that mirrors the ambivalence of an overcrowded and angst-ridden modern day metropolis.

One of the most authentic and disturbing depictions of a relationship ever captured on film.

?!

A stunning visual poem. I think that with this film Kaplanoğlu has established himself as one of the masters of contemporary cinema.

Marc Recha created a touchingly human film about loss which is also a beautiful homage to rural Catalonia. One of my favorite Spanish films of the past decade, and I also like the director's name.

THE BATTLE OF CHILE is now on this database!

To answer Cedric's question: http://www.ubu.com/film/lamorisse_vent.html

Apparently Christopher Nolan knows close to nothing about the functionality of dreams, and also didn't bother to do research in order to give his film any kind of coherence. The result is a grandiose and pseudo-complex piece of fake entertainment.

Con los ojos vendados nos miramos cada día delante de un espejo para ser sólo imágenes nuestras que no veremos.

Indeed!

Quite ironically a director who stated that "My hatred for Japanese cinema includes absolutely all of it.” was asked for his contribution to the "Century of Cinema" series representing Japan, and the documentary is as biased and one-dimensional as one would expect considering his attitude, skipping most classical directors of the Golden Age and focussing almost exclusively on the New Wave and his own films.

"Harvest: 3000 Years" is not just by far the greatest African film I have yet seen, but also another stellar masterpiece of world cinema that won't make it into the annals of film history since it was made in an underdeveloped third world country. It's our loss that we tend to ignore their artistic output, and a missed opportunity to get a better understanding of a whole culture which our "civilization" devastated.

A short and brilliant masterpiece which perfectly displays Ray's psychologic and dramatic sensitiveness while outlining a tremendous emotional conflict.

I'd say this is the greatest Iranian film I've seen so far.

I partly agree with you although I think that one could describe Lynch's narrative as post-surrealist which is of course the American approach on the former European movement. As many surrealist works there's no appearant meaning behind occurences, things are muddled and intented to confuse, those European artists as well as Lynch didn't care much about possible explanations, and rather attempted to evocate subconscious associations. I don't particularily admire any of Lynch's films, but respect a filmmaker who does this and won't follow the mainstream conventions, since at least he isn't afraid of bewildering the viewer, while most films nowerdays try to put the viewers under tutalage an feed them with easily understandable resolutions without the tiniest ambivalence. In my opinion Tarantino is much closer to this horrible mainstream convention, and not worth respect since his style isn't a development bu a duplicate. There are many directors working today as for instance Weerasethakul who are miles ahead of Lynch with their narrative innovations, Lynch being overpraised has to do with exposure, but therefore I don't regard him as a hoax.

That's a radical statement. I'm not a fan of "Mulholland Dr.", but would never dare to compare it to any of Tarantino's films. Obviously there are references to Bergman's "Persona" as well as Buñuel, but I don't see how he just copied an existing work. Care to elaborate why you don't regard it as a real film?