Nowdays many people signing up for OTT platform Mubi. It offers movies which are critically acclaimed and awarded in film festivals. It is a platform for serious movie watchers. Parallel cinema from around the world showcased on Mubi. If you have Mubi subscription you can start with our watchlist. We have prepared list of 10 best movies to watch on MUBI. Just have a look.
“Incendies” is a work of fiction that takes place in an unnamed Middle Eastern country. Yet it’s filled with uncomfortable truths about the past, the present and maybe even the future of a region that’s been long torn apart by violence.
“Incendies” is a gripping film, mostly because of the fearless performance of Belgian-born, half Moroccan, half Spanish actress Azabal. The ending feels a little contrived. Can so much tragedy happen to one woman? Those of us comfortable in our safe houses, watching terror unfold halfway across the world, can’t really know.
Review: Kelly Jane Torrance
Mommy by Xavier Dolan is the fifth feature film from the 26-year-old Quebec-born director. That fact alone makes a fair impact. But the film itself is a blast of high-voltage craziness and unrepentant bad taste, chock-full of white trash and black comedy; it’s a Taser-shock of melodrama, a death-metal chord of tearful uproar. It’s outrageous – and brilliant: the daytime soap from hell. Dolan just lets rip with an unstoppable movie riff, and makes everything else around look negligible and passionless.
Review: The Guardian
“L.A. Confidential” is described as film noir, and so it is, but it is more: Unusually for a crime film, it deals with the psychology of the characters, for example in the interplay between the two men who are both in love with Basinger’s hooker. It contains all the elements of police action, but in a sharply clipped, more economical style; the action exists not for itself but to provide an arena for the personalities. The dialogue is lovely; not the semiparody of a lot of film noir, but the words of serious people trying to reveal or conceal themselves. And when all of the threads are pulled together at the end, you really have to marvel at the way there was a plot after all, and it all makes sense, and it was all right there waiting for someone to discover it.
Once upon a time in Anatolia
A slow-burn study of investigatory obsession and police bureaucracy, Nuri Bilge Ceylan’s mesmerizing “Once Upon a Time in Anatolia” plays like “Zodiac” meets “Police, Adjective.” That’s a tough combination to pull off: Neither David Fincher’s epic tale of the infamous decade-spanning serial killer hunt nor Romanian director Corneliu Porumboiu’s minimalist cop drama come with easy answers. But Ceylan has made a similarly analytical brain teaser, rendered in patient and sharply philosophical terms.
The skin I live in
The Skin I Live In is cold, cruel, detached; its grim sex scenes—if that is the right phrase: really they are scenes of molestation if not outright rape—are scenes of disaffection, discomfort, suffering. So the loss of sensation extends to pleasure too, and I would say that the problem of the film is its “visual un-pleasure,” the fact that the enjoyable Almodóvar trademarks have gone missing. Where are the exuberant humor, the farcical coincidences? Where is melodrama? Where, in a more subdued mode, is the tender reconciliation that gives Volver and Broken Embraces their emotional force? Where, finally, is the polymorphous eroticism? (Think of Kika, for example, with its multiple infidelities and irrepressible libidos!) When Zeca in his kinky tiger-face codpiece licks the black-and-white CCTV image of Vera doing yoga, is this in fact the only persuasive representation of desire in the whole film? What kind of Almodóvar movie is this?
Review: Film Quarterly
The film that made enfant terrible Aleksey Balabanov’s name, Brother was a domestic smash hit. Almost single-handedly igniting the notion of a homegrown genre cinema, this morally ambiguous gangster movie with a killer soundtrack embodies the mercenary dog-eat-dog spirit of Russia’s “Wild Nineties.”
Capturing the head-on collision of Russian and American values at the start of a new century, this superlative sequel wryly tackles questions of personal agency and bravado. Interrogating stereotype with Aleksey Balabanov’s savage wit, Brother 2 subversively needles the notion of national identity.
The girl with the Dragon Tatoo
The Girl with the Dragon Tattoo (based on a book of the same name) features a rare and refreshing portrayal of hacking: the main computer genius, Lisbeth Salander, uses a very ordinary-looking Mac. She combines social engineering, phishing and more sophisticated break-in techniques to extract information from targets. Hackers in films tend to have comically, over-the-top computer setups that resemble complex battle stations, whereas in the real world the best hackers can use mainstream devices.
First Cow is not just a masterpiece on the subtlety of direction. The razor-sharp editing (by Reichardt herself) connects seemingly far-flung spaces and time periods with fine precision. Present-day Oregon and its 19th-century counterpart, with social interactions and burgeoning businesses, cohabit harmoniously.
“The Sacrifice” is not the sort of movie most people will choose to see, but those with the imagination to risk it may find it rewarding. Everything depends on the ability to empathize with the man in the movie, and Tarkovsky refuses to reach out with narrative tricks in order to involve us. Some movies work their magic in the minds of the audience; this one stays resolutely on the screen, going about its urgent business and leaving us free to participate only if we want to.