
The Rider
Chloe Zhao cast a real rodeo rider and his real family to play themselves: the line between documentary and fiction never appears, and neither does a false note.

Chloe Zhao cast a real rodeo rider and his real family to play themselves: the line between documentary and fiction never appears, and neither does a false note.

Kiarostami blurred documentary and fiction so completely that nobody has quite untangled it since: a man caught impersonating a director, with everyone involved playing themselves on camera.

It flopped, then quietly redesigned the future: every rainy neon city of the last forty years is borrowing from Ridley Scott, and the mood still outlasts the plot.

There is no better argument for seeing a film on the largest screen you can find: Lean's desert swallows the frame, and a British officer dissolves inside it over nearly four hours.

Nobody has ever made obsession look this beautiful or this sick: a man falls for an image instead of a person, and Hitchcock follows him past every point it should stop.