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A biopic of influential German-Jewish philosopher and political theorist Hannah Arendt. Arendt’s reporting on the 1961 trial of ex-Nazi Adolf Eichmann in The New Yorker—controversial both for her portrayal of Eichmann and the Jewish councils—introduced her now-famous concept of the “Banality of Evil.”
- 5 / 5
66% WILL SEE
34% WON'T SEE
Gianni is a middle-aged man living in Rome with his imposing and demanding elderly mother. His only outlet from her and the increasing debt is the quiet the local tavern.
- 5 / 5
33% WILL SEE
67% WON'T SEE
- 4.1 / 5
52% WILL SEE
48% WON'T SEE
A drama based on the true story of Fahrije, who, like many of the other women in her patriarchal village, has lived with fading hope and burgeoning grief since her husband went missing during the war in Kosovo. In order to provide for her struggling family, she pulls the other widows in her community together to launch a business selling a local food product. Together, they find healing and solace in considering a future without their husbands—but their will to begin living independently is met with hostility. The men in the village condemn Fahrije’s efforts to empower herself and the women around her, starting a feud that threatens their newfound sovereignty—and the financial future of Fahrije’s family. Against the backdrop of Eastern Europe’s civil unrest and lingering misogyny, Fahrije and the women of her village join in a struggle to find hope in the face of an uncertain future.
- 4.5 / 5
73% WILL SEE
27% WON'T SEE
Paul Goodman was once so ubiquitous in the American zeitgeist that he merited a cameo in Woody Allen's Annie Hall. Author of legendary bestseller Growing Up Absurd, Goodman was also a poet, 1940s out queer and family man, pacifist, visionary, co-founder of Gestalt therapy—and a moral compass for many in the burgeoning counterculture of the '60s.
- 5 / 5
25% WILL SEE
75% WON'T SEE
Set in a richly exaggerated 17th-century England, Peter Greenaway’s witty, stylised, erotic country house murder mystery catapulted him to the forefront of international art cinema. Adorned with intricate wordplay, extravagant costumes and opulent photography, Greenaway’s first narrative feature weaves a labyrinthine mystery around the maxim “draw what you see, not what you know.” An aristocratic wife (Janet Suzman) commissions a young, cocksure draughtsman (Anthony Higgins) to sketch her husband’s property while he is away—in exchange for a fee, room and board, and one sexual favor for each of the twelve drawings. As the draughtsman becomes more entrenched in the devious schemings in this seemingly idyllic country home, curious details emerge in his drawings that may reveal a murder.
Drama 1 hr, 44 mins
86% WILL SEE
14% WON'T SEE
After the sudden death of her father, 8-year-old Simone shares a secret with her mother Dawn. She’s convinced her father speaks to her through the leaves of her favourite tree and he’s come back to protect them. But the new bond between mother and daughter is threatened when Dawn starts a relationship with George, the plumber, called in to remove the tree’s troublesome roots.
- 4.4 / 5
- 3.3 / 5
12% WILL SEE
88% WON'T SEE
The two men embark on parallel, if separate, journeys. Their yearning is a common one—for a better and different life. Dondup, delayed by the timeless pace of his village, is forced to hitchhike through the beautiful wild countryside of Bhutan to reach his goal. He shares the road with a monk, an apple seller, a papermaker and his beautiful young daughter, Sonam. Throughout the journey, the perceptive yet mischievous monk relates the story of Tashi. It is a mystical fable of lust, jealousy and murder, that holds up a mirror to the restless Dondup, and his blossoming attraction to the innocent Sonam. The cataclysmic conclusion of the monk's tale leaves Dondup with a dilemma—is the grass truly greener on the other side?
The 12th-century Benedictine nun who was a Christian mystic, composer, philosopher, playwright, poet, naturalist, scientist, physician, herbalist and ecological activist.
Drama 1 hr, 51 mins
- 3.5 / 5
41% WILL SEE
59% WON'T SEE