UNKNOWN

Other movies
NORMAL
Director: Ben Wheatley
Normal's night of reckoning and west-meets-east thrills and blood-spills is dark, absurdly funny and drenched in its own B movie with A movie viewing sensibility. Back in trenchant Free Fire form, Ben Wheatley directs Bob Odenkirk (Better Call Saul, the Nobody movies) from a script by Odenkirk and John Wick creator Derek Kolstad. It's mid-winter, and Odenkirk is Ulysses, a laid-back, somewhat oblivious sheriff on a temporary job in a tiny Minnesota town where all is certainly not what it seems — as heavily signalled by an ultra-violent prologue featuring a yakuza standoff in Osaka. Normal is the name of this burg of 1,890 cheerful inhabitants (including cameos from Henry Winkler and Lena Headey), but the film is decidedly anything but.
A SAD AND BEAUTIFUL WORLD
Director: Cyril Aris
Born during a tragic massacre in Beirut, Nino and Yasmina are cosmically bound from childhood. Through shared hardships — Nino’s loss of his parents and Yasmina’s parents’ divorce — they forge an unbreakable bond. Yasmina, dreaming of escape, proposes a magical train ride to a remote island. Nino agrees, but their plan is shattered when she moves away. Fate reunites them 24 years later, and despite her cynical view of Beirut and life, Yasmina is captivated by Nino’s optimism. She falls in love, abandoning her emigration plans, and is swept away by their connection. This is a powerful tale of longing, love and destiny, portrayed by performances that remind us of the beauty of life when viewed through love's lens.
TWO SEASONS, TWO STRANGERS
Director: Sho Miyake
Adapted from Yoshiharu Tsuge’s manga short stories from the 1960s, Two Seasons, Two Strangers follows Li (Shim Eun-kyung), a creatively blocked Korean screenwriter adrift in Japan. As she imagines a bittersweet seaside tale of two lonely youths crossing paths, a film-within-a-film unfolds onscreen and we realise her own emotional journey is mirroring theirs. Months later, in a snowy mountain village, Li finds connection with a solitary innkeeper, and slowly reclaims her voice, rediscovering purpose and the beauty of the understated. Filmmaker Sho Miyake distills transformation into its quietest form, where meaning clings to the ordinary and unravels in near-silence. The film explores relationships born of chance — not romance or friendship, but something softer, stranger and just as essential.
BLACK RABBIT, WHITE RABBIT
Director: Shahram Mokri
Iranian filmmaker Shahram Mokri develops multiple plot strands this engrossing, multilayered, playful and skilled drama centering around Sarah, the victim of a suspicious car crash who is swaddled in bandages and at odds with her controlling husband. What turns out to be a film-within-a-film-within-a-film zooms out to include the remake of a classic Iranian movie in Tajikistan, an armourer worried about a prop gun and an actress looking for her big break. Of course their fates collide through multiple fluid, bravura circular takes, often covering the same time frame, bold touches of magical realism — or are they sight gags? — and an eternal mystery. This spinning story is Tajikistan’s Oscar entry for this year.