August 

The film blends reality and the supernatural world together, leaving the viewer unsure of what’s real and what’s merely a figment of Michael’s agitated imagination.

With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.

What makes the lighting in Casablanca even more impressive is how it reflects the emotional states of the characters without needing explicit dialogue.

I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.

Mai yells what every parent dreads hearing from their child: “tao ghét mày” (“I hate you”) and runs from the scene, where Hai discovers that Mai was telling the truth about the wallet.

This 2016 winner of an Ophir Award for Best Film focuses on the forbidden romance of a young, Bedouin woman and the ramifications it has for her family, her identity, and her culture.