EDITOR'S CHOICE: Lee Sang-il returns to the work of Villain author Shuichi Yoshida for a bleak look at the impossibility of connection and the failings of both trust and suspicion.
The remake of the 2012 Korean thriller surpasses the original by forgoing action for subtext.
EDITOR'S CHOICE: Sabu's latest film is a tender yet cerebral exploration of memory and loss.
A hardcore band not in it for the money, able to ruffle feathers with a bass, drums, and a Powerpoint presentation.
A cold, distant, and confidently anti-climactic mystery thriller from a first time director.
Naoko Ogigami (thankfully) returns with a film that continues her trademark quiet quirk but is a new chapter for the director because of its social significance.
Korean political satire, efficient and with a quick turnaround.
The Net is an immediate, unsentimental take on the divide of the Korean peninsula.
Liberal propaganda in two parts. Setsuko Hara as two character types. One of Akira Kurosawa's 100 favorite films.
Steven James makes a more overtly political film with seemingly unintended shades of grey.
An energetic screwball comedy that prioritizes the slapstick over romance.
Hara, Takamine, Nakadai, and more in spectacular TohoScope.
A film in which questions of self and existence are explored through the simple act of stalking.
From the director of Nuclear Nation is an uncompromising, humanist look at a few girls wrapped up in a pop culture phenomenon.
Hiroki's film is a mixture of thoughtful and iconoclastic formal techniques and tired anime clichés. A watered down Secretary at the high school level.
A different take on the true crime serial killer film with a handful of interesting ideas both thematically and narratively despite the film's overall flaws conveying those ideas.
Kore-eda tries his hand at the detective genre. Already his latest, a spiritual successor to Still Walking, attains must-see status.
An in-depth look at Toshiro Mifune's craft and personal life, this documentary is also a brisk crash course on a specific time and section of Japanese film history.
Most likely Yamashita's most reserved picture yet. He uses his stellar cast to portray a group of lost souls, the film itself matching their in-the-moment approach to living.
The World of Us takes a close, unsentimental look at the intricacies of the social world of children as it charts the formation and dissolution of a friendship.
This mystery thriller from Taiwan is a sordid tale of love, murder, and questionable journalistic practices.
Sono's latest is his F for Fake, an assault on the intellect that dares you to look away and forces you to mentally keep up.
This Taiwanese crime thriller is another exercise in rookie cop vs. corrupt politicians.
From Nikkatsu's reboot of the roman porno genre comes this fun, self-aware battle of the sexes that indulges in the formula as much as it transcends it.
Yeon Sang-ho's live action debut is most assuredly a modern zombie classic with strong social and emotional concerns.
This modest debut is a socially conscious noir where we watch one man fight to not join in his country's moral descent.
Iko Uwais finally gets to deliver another nuanced, powerful performance in this brutal Mo Brothers' martial arts film.
Koji Fukada's latest is one of the year's best films. It's hypnotic nature and heartbreaking story will get under your skin and stay there.
As part of their focus on Taiwanese cinema, the San Diego Asian Film Festival showcases an early oddity from a master filmmaker.
The first South Korean co-production from Warner Bros., The Age of Shadows is easily Kim Jee-Woon's best Korean film since A Bittersweet Life.