Blow-Up (Michelangelo Antonioni, 1966) – allusion to altered attitudes and the truths of perception.

Stylish, perceptive, fashionable; Antonioni’s almost-thriller murder-mystery is equal parts gratifying and unsatisfying. From the perspective of a swingin’ 60s London fashion photographer Thomas (David Hemmings) comes an avant-garde mixture of drama, comedy, and mystery that leaves the audience questioning what’s real and what’s just a product of personal perspective. Thomas has it all: women throwing …

Persona (Ingmar Bergman, 1966) – an introspective into the individual and their image as an art.

The ‘persona’ can be defined as a mask created by the individual that one wears to both conceal their true nature and to reflect themselves to others; a kind of social face, according to psychiatrist Carl Jung (1953). This could be the explanation behind the actions of the characters within Bergman’s Persona, a film which …

Weekend (Jean-Luc Godard, 1967) – the sardonic termination of the bourgeoisie.

Colourful yet bleak, violent yet funny, politically critical yet excessively absurd – there are many ways to describe Week End/Weekend, Godard’s scathing critique of the bourgeoisie and social class portrayed through a lens that switches between ludicrous images of cannibalism and obscene amounts of automobile accidents to long monologues of political policies, Marx, and Neo-colonialism. …

Hiroshima, Mon Amour (Alain Resnais, 1959)

Filmed 14 years after an Atomic bomb was dropped by the USA onto Japan’s Hiroshima and Nagasaki, murdering millions and leaving devastating and lasting effects on the country, Alain Resnais’s Hiroshima, Mon Amour is an artistic and abstract visualisation of the event’s consequences. Elle (Emmanuelle Riva), a French actress starring in a film about peace, …