There’s no war going on in these subversive Inspector Maigret whodunits from occupied France, but there’s a lot more murder and paranoia than in the era’s newspapers.
Chilean revisionist Western, The Settlers, is a powerful film whose director shows admirable moral integrity that’s often absent in film history.
The bleakness in Walter Salles and Daniela Thomas’ 1995 crime thriller Foreign Land would mark the film as a paragon in the newly emerging Brazilian cinema.
Filmed under a cool glass of calm and enwrapped in an airy atmosphere, La Cérémonie makes judicious use of its setting to starkly contrast its warring classes.
At the edge of civilization where True Detective: Night Country is set there is no promise of salvation, only carnal vengeance and some comfort in the darkness.
You can sense Charles Crichton’s stare bearing down on John Cleese every time the former Monty Python actor attempts anything more comedic than a bemused smirk.
Scarface implies that under capitalism, “getting high on your own supply” is inevitable, as the system is based on the exploitation of dissatisfaction.
There are taboo subjects in the context of Indigenous Americans in Killers of the Flower Moon. Scorsese’s film only amplifies the silence surrounding them.
You can read David Fincher’s The Killer as a story about a murderer, or you can see it as the satire of our pathetic little existence that it really is.
Martin Scorsese’s Killers of the Flower Moon is another storytelling masterclass and examination of 20th-century American histories of greed and destruction.
Whether as a star vehicle, a Simenon mystery, a wartime allegory, or merely a studio product, Strangers in the House is a rewarding French film that’s gone largely unnoticed.
Irish actor Aidan Gillen talks about his lead role, and the freedom given to him to define his character, in Fintan Connolly’s Dublin-set modern noir, Barber.