14. Memory Box (Joana Hadjithomas and Khalil Joreige, Lebanon)
Loosely adapted from co-director Joana Hadjithomas' teenage letters and diaries “Memory Box” is an imaginative multimedia ensemble that magically brings to life memories of Life in Beirut in the 80s during part of the Civil War and at the same time, tells a cathartic story of acceptance across three generations of women. (Adriana Rosati)
13. Raging Fire (Benny Chan, Hong Kong)
“Raging Fire” is easily one of the finest action films of the year. Most of the films' success lies in its strong storyline from writer/director Chan that makes the fighting between Shan and Ngo feel organic and natural. The initial background involving them being acquaintances on the police force, in a mentor/protege relationship until they split following an interrogation-gone-wrong, gives this more depth than normal. This information is not dumped at once but is gradually revealed over the course of the film as more info is known about the intruders and their connection to the police force. Knowing that they were involved in the same squad and got separated when Shan ratted everyone out and sent them to jail by doing his job, sets the two off on their own path. Knowing they could've had their roles reversed in a simple twist of fate creates a strong, intertwined storyline that adds a surprising amount of depth to a movie like this. (Don Anelli)
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12. Midnight (Kwon Oh-seung, S. Korea)
Kwon Oh-seung, who wrote the screenplay himself, manages to make a narrative that's filled with plenty edge-of-the-seat moments as the killer chases after his target, who can't hear him coming, who in turn is chased by Jong-tak, who is desperate to reach his sister before time runs out for her. In that sense, if Na Hong-jin had not already named his debut feature “The Chaser”, this would have been an apt title for Kwon's debut, with a large part of the runtime dedicated to Do-sik's attempts to catch up on Kyeong-mi and finish what he started. Speaking of “The Chaser”, Do-sik, the calm and composed killer with a lot of personality, often reminds of Ha Jung-woo's iconic role in the 2008 film, particularly in the scenes of his interactions with the police. The fact that the character, for the most part, seems like a well-researched depiction of a psychopath works in the feature's favour. (Rhythm Zaveri)
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11. Haruhara-san's Recorder (Kiyoshi Sugita, Japan)
“Haruhara-san's Recorder” never tells us anything apart from the fact Sachiko is renting a new apartment and working at a cafe, for that matter. Just like the type of poetry it is based on, it only very subtly suggests what might have happened, making it at time difficult, but in the end, rewarding experience. (Martin Lukanov)
10. A Hero (Asghar Farhadi, Iran)
In this realistic, crowded, score-less film, performances are all outstanding, Amir Jadidi as Rahim is a real spectacle: behind his broad smile, he hides desperation, hope and enough ingenuity to counterbalance his stupidity, but he also shows great dignity in sparing one last humiliation to his son at the end of the narration. The final static long shot is a powerful and beautifully framed epilogue of this paradoxical and rather alarming fable. (Adriana Rosati)
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9. Cliff Walkers (Zhang Yimou, China)
Zhang Yimou directs a rather labyrinthal spy thriller, which seems to incorporate almost every crowd-pleasing genre element in the book. Love, (melo) drama, comradership, double-crossings, agony, violence, shootouts, car chases, dedication to the Party and the Cause, presentation of the Japanese as monsters, are all implemented in a noir/retro package that manages to retain interest, from beginning to end. (Panos Kotzathanasis)
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8. The Sadness (Rob Jabbaz, Taiwan)
An unrepentant gore-fest filled with plenty of carnage and a topical story written around it all, “The Sadness” is an immensely fun zombie film that does have some minor issues filling out genre qualities that might not even matter anyway. Gorehounds, lovers of Asian horror cinema, or grindhouse film aficionados are going to really enjoy this one the most. (Don Anelli)
7. Blue (Keisuke Yoshida, Japan)
“Blue” is an idyllic love letter to the world of combative sports. A wonderfully crafted drama with strong performances, the film transcends the restraints of being tied to those who have an interest in boxing. Essentially, fans of the sport are likely to come out with a deeper appreciation of the work, but it won't isolate the casual fan. One of the more competent and heartwarming dramas in recent memory, I can't speak the praises of “Blue” highly enough – don't miss out on this one! (Adam Symchuk)
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6. Aloners (Hong Sung-eun, S. Korea)
On the surface, “Aloners” is a subtle drama about a woman and loneliness in the modern urban landscape, but Hong Sung-eun has created something which is quite fascinating and more than once even borders on being a ghost movie. The numerous callers in her office, her neighbor as well as her own parents have become more or less ghosts to the young woman, who has, for some reason, decided to stay away from social interaction, especially as her life is fine without it and no one demands it of her. Gong Seung-yeon delivers one of the year's best performances, playing the role of an outsider (or ghost) by choice, but who is forced to change her ways. Rather than relying on melodrama to tell the story, director Hong Seong-eun relies on his actors and the minimalist staging of scenes to, for example, emphasize how one can become a ghost and a stranger to the world around her. (Rouven Linnarz)
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