Narrative Films

Winner of the Grand Prix at the first Tokyo International Film Festival in 1985, Typhoon Club is widely regarded as the seminal film of director Shinji Somai’s career. A work of raw, elemental power, it follows an ensemble of junior high students in a provincial town, beset by a summer-y malaise as a typhoon looms. The 10th best Japanese film of all time, according to Japan’s Kinema Junpo poll.

From acclaimed Japanese filmmaker Shinji Sômai comes an exuberant farce tinted with deep shades of melancholy and real violence, P.P. Rider is an ode to the dreams of youth against authority. Adapted from a comic strip-like scenario by Leonard and Chieko Schrader, it’s a film of unparalleled freedom, and a testament to Somai’s ability to inject his work with the potent marrow of life.

A selection of the New York Film Festival, director Laura Citarella directs a labyrinthine tale of obsessive pursuit and the quest for personal freedom.

In his ninth film for Hong Sangsoo, Kwon Haehyo plays Byungsoo, a film director who goes with his daughter  to a building owned by an old friend, Hong fills the building spaces with a profusion of everyday details spanning art, love, career, religion, dietary decisions and home renovations.

Winner of the Grand Jury Prize at the Berlin Film Festival. For his 27th feature, Hong Sangsoo holds a mirror up to his own artistic process and asks what exactly it is we’re looking for from a work of art. 

The film follows Ida, who, after a stirring encounter with the French Foreign Legion, sets sail with her own corps of five men, none of whom speak the same language, to trace the route of this fabled troop.

In her dynamic and entrancing directorial debut, Helena Wittmann takes us on a transatlantic voyage unlike any other, scrambling our senses and inviting us to surrender to the ocean's ever-undulating surface.

 The Strange Little Cat assembles seemingly unspectacular details into an exciting choreography of everyday life, a carefully staged chain reaction of actions and conversations, turning an apartment into a universe.

In her first role for Hong, Lee Hyeyoung, a prominent theater and screen actress in South Korea, makes a captivating return to the big screen. With In Front of Your Face, Hong suggests that perhaps the most important things in this life are also the most immediate.

As her roommate Lisa prepares to move out of their apartment, Mara contemplates the end of an era.  In The Girl and the Spider, the Zürcher brothers compose a poetic panopticon of forms of human relationships that is at once a study of everyday life, a fairytale and a psychological portrait of a brittle world. 

An official selection of the Cannes Film Festival, The Day After begins as a darkly hilarious story of a man embroiled in extramarital entanglements but soon shifts—in a way only Hong can manage—into a heartfelt portrayal of a young woman on a quest for spiritual fulfillment.

 A refreshingly sunny performance from Isabelle Huppert (The Piano Teacher, Elle) is at the center of this comic charmer from South Korean Master Hong Sangsoo. Intricately plotted with wit and charm to spare, CLAIRE'S CAMERA explores the power of images to transform us. 

THE WOMAN WHO RAN is a subtle, powerful look at dramas small and large faced by women everywhere. With characteristic humor and grace, Hong takes a simple premise and spins a web of interconnecting philosophies and coincidences. Winner of the  Silver Bear for Best Director at the Berlin Film Festival.

Winner for Best Screenplay at Berlin Film Festival.  For his twenty-fifth feature as director and his first as cinematographer, Hong Sangsoo offers a simple tale of young people on the edge of adulthood. Introduction cuts to the essence of who we are as people, like an unexpected hug on a winter's day.

Anne hasn’t been the same since the jump. While skydiving for her best friend Sara’s bachelorette party, the 27-year-old felt focused, free, above it all. Back on the ground, the pressures of her daily life threaten to overwhelm her. An electrifying pairing of two of the brightest young stars in cinema in director Kazik Radwanski and rising talent Deragh Campbell, the film reveals a director and star in perfect synch.

A New York Times Critic's Pick! The latest in Matías Piñeiro's series of films inspired by the women of Shakespeare's comedies is his most structurally daring and visually stunning work to date. 

Khadija (Saadia Bentaïeb) is a fifty-eight-year-old Maghrebi cleaning woman living in Brussels in the wake of the 2016 bombings that shook the city. After work one night, she falls asleep on the last subway train, wakes up at the end of the line and has no choice but to make her way home—all the way across the city—on foot.

When painter Youngsoo (Kim Joohyuk) learns that his girlfriend, Minjung (Lee Yooyoung), was recently seen having drinks with another man, he can’t help but question her about it. It doesn’t go well and they part on bad terms. The next day, Youngsoo tries to find her, but can’t. As he wanders and frets, Minjung has a series of encounters with other men. But to them it seems she’s not herself.

Versailles, August 1715. Back from hunting, Louis XIV - magisterially interpreted by New Wave icon and honorary Palme d’Or recipient (Jean-Pierre Léaud) - feels pain in his leg. A serious fever erupts, which marks the beginning of the agony of the greatest King of France.

Astrid, a forty-something mother of two, struggles to regain her balance in the wake of her husband’s death. Her adolescent son Phillip disappeared for a week and now that he has returned, he faces disciplinary action at school and his toe requires amputation. As new questions confront Astrid from every angle, even simple activities like buying a bicycle or engaging with a work of art, are fraught with unexpected challenges.