“Motley’s Law” (Denmark). Kimberly Motley is a contemporary, tough, captivating symbol of a woman who earns her badge of courage every waking moment, as the solitary American permitted to practice law in Afghanistan. Director Nicole Horanyi follows Kimberly through her courageous, terrifying days, gifting audiences a penetrating, inspirational portrait of an individual whose mission knows no fears, no bounds.
“Tag” (Japan). Beyond the gore, vivisected, bloody body stumps, lurks one of the most fascinating, metaphorical studies of science, technological wizardry gone awry. Breathlessly the viewer is wonderfully, satisfyingly manipulated and presciently overwhelmed.
“Son of Saul” (Hungary). (Previously reviewed). Director Laszlo Nemes and actor Geza Rohrig force viewers to crawl through the bowels of Auschwitz, the epicenter of Hitler’s madness, 1944; “Saul” a Jewish Sonderkommando (Jews forced to aid in the eradication of fellow Jews) steals the body of a boy, he claims is his son; searching for a Rabbi to officiate a proper burial; witnessing, wandering through the corridors of the smothering, filthy, claustrophobic, chocking stench of the caves of dehumanization.
“The Homecoming” (Iceland). Delightful, monumentally satisfying. Director Bjorn Hlynur Haraldsson’s film about an author of self-help books, incapable of practicing what he expounds upon. Nothing is as it seems and the circuitous plot surprises, shocks and titillates to perfection.
“Cash Only” (US). A pivotal, powerful scenario revolving around the vicissitudes of an Albanian father, struggling to escape the claws of debt; director Malik Bader and actor Nickola Shreli soar in this thrilling, gutsy, realistic, heart- arresting narrative, where righteousness rarely triumphs villainy .
To be continued….