10. Aamis (Bhaskar Hazarika, India)
“Aamis” has a narrative which deals with the darker sides of human mind and associated obsessions, and Bhaskar Hazarika handles it brilliantly. The love is just a few steps of stairs in this movie which Nirmali uses to exploit Sumon to fulfill her fetish for meat. The narrative turns towards a gruesome crime at the end but follows the flow of simple love which defines the truth of human relationships. And it echoes in the last scene where two protagonists touch each other's fingers, which upholds the power of love in life. Bhaskar Hazarika throws the statement towards audience to decide whether all was for pure love or just for obsession? Amazing film and a great watch. (Sankha Ray)
9. So Long, My Son (Wang Xiaoshui, China)
Ambition, guilt and shame is something Wang deals with, while the wheel of history and politics stays always in the background. That is the principal reason for the non-linear structure which makes the film hard to follow in the beginning, while it pays off in the end, with a rare example of an earnest, non-sappy happy ending in the recent film history. (Marko Stojljkovic)
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8. Balloon (Pema Tseden, China)
The trick with “Balloon” is that, like all the things that come from a strongly traditional culture, it has to be taken as it is. Pema Tseden is still on the virginal territory of inventing a film language that works in Tibetan surroundings and can treat a number of subjects, both philosophical and mundane. In the end, “Balloon” is a rewarding film and a step in Pema's career to another masterpiece after “Jinpa”. (Marko Stojljkovic)
7. House of Hummingbird (Kim Bo-ra, S. Korea)
Kim Bo-ra has created Eun-hee, a 90's Korean girl, to channel the angst that all adolescents experience; the fear of facing an Ocean on a tiny raft. In a poignant scene near the end, the three siblings at dusk watch the collapsed Seongsu Bridge, showing their emotions unashamedly. They are three little sprouts, overwhelmed by the tragedies that life can throw at you, and yet destined to process it and move on. (Adriana Rosati)
6. Samurai Marathon (Bernard Rose, Japan)
In the end, “Samurai Marathon” is an enjoyable period piece uniting various storylines into one tale about betrayal and loyalty. With a great cast and an eye for the wonderful landscape of Japan, this is a very interesting drama about a time of change in Japan, a much needed one on the one hand, but also aware of a certain loss on the other hand. (Rouven Linnarz)
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5. The Gangster, the Cop, the Devil (Lee Won-tae, S. Korea)
The killer, portrayed by Kim Sung-Kyu (“Kingdom” 2019), is a creepy psychopath with no morality. He always wears a smile and feels pleasure in his killings. We do not get to know a deeper backstory of his character nor his motive. But as the revenge finally is about to happen, the movie pushes the emotional level up and we cannot await the final punishment. These final sequences are the most memorable ones. Director Lee Won-Tae shows genuine talent by inflicting his characters deeper and deeper with the craving for retribution. (Alexander Knoth)
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4. Extreme Job (Lee Byeong-heon, S. Korea)
Comedy might be underestimated as a genre, since it is quite hard to do it properly and the trick is to make it look easy and effortless. In that and every other sense, “Extreme Job” is an enormous success with a high score for laughs and probably one of the best and most hilarious comedies in years. The success is even bigger having in mind that Korean cinema is not usually known for that kind of comedies. Well, maybe the filmmakers should have tried it earlier, but it is never too late. (Marko Stojljkovic)
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3. First Love (Takashi Miike, Japan)
The character-rich story is in fact a crescendo of action to climax in a locked hardware department store in the heart of the night, the perfect labyrinthine place for a showdown composed by many pickaboos between the deserted aisles and a display of mortal tools and thugs, including a couple of Katanas, a one-armed Chinese assassin with a pump-action shotgun, leg-cramps, bulletproof vest trickery and a beautifully animated transition. All neatly choreographed and orchestrated. In fact, the narration is pleasantly lucid despite the abundance of characters and subplots and doesn't leave open threads or dark shadows, making the ride easy and fun. (Adriana Rosati)
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2. Jallikattu (Lijo Jose Pellissery, India)
Questioning evolution is no small feat and keeping the primal need for food at its crux is even more remarkable. And as if questioning Darwin was not enough, we have entertainment without compromising intellect and some raw thoughts to ponder upon. (Arun Krishnan)
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1. Parasite (Bong Joon-ho, S. Korea)
The artistry in Hong Kyung-pyo's cinematography and Lee Ha-jun's set design is undeniable, with the two of them implementing a style much similar to Park Chan-wook's “The Handmaiden”, with the luxuriousness of the upper floor coming in complete contrast with the almost gothic style of the basement, and the somewhat dramatic realism of Ki-taek's rundown house. The maximalism of Park's film may have been substituted by an elegant “designer's” minimalism in the main house of “Parasite”, but I felt that basic visual premises are quite similar, which is obviously a tick in the pros column. The stylistic excellence is also evident in the sex scene, which, for once, is truly original. (Panos Kotzathanasis)
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