Film

Tales of Ordinary Madness

Ferreri's savage 1981 portrait of a poet drowning in Los Angeles depravity. Ben Gazzara stumbles through a fever dream of bars, strangers, and self-destruction with unflinching brutality. Formally audacious and deeply uncomfortable, it's a film that doesn't flinch from its own ugliness—for better and worse. For viewers who want cinema that wounds.

TMDb rating3.0

Should you watch it?

Watch it if you enjoy rough, funny character studies of a self-destructive drifter whose appetites are the whole point, told with a poet's eye for the squalid.

Skip it if the drinking and sex are relentless and the story circles rather than climbs, so if you need warmth or a clear arc, it will grind you down.

What it asks of you: Just over an hour and forty minutes of unhurried, shambling episodes, light on plot and heavy on mood; you have to let the seediness accumulate patiently.

If you liked this

Barfly1987

Faye Dunaway and Mickey Rourke in Schroeder's love letter to Bukowski's alcoholic underworld. Raw, funny, tender—it understands the seduction of the bottle without sanitizing it.

But The romance of addiction can feel enabling, and the film knows this but doesn't entirely care. Some will find that irresponsible.

Barfly poster

Come and See1985

Elem Klimov's Soviet masterpiece about a boy soldier in WWII. Like Ferreri, it refuses to look away from human degradation, but with apocalyptic scope. Formally daring and genuinely shattering.

But Relentlessly grim with no catharsis, redemption, or irony to cushion the blow. This is a test of endurance.

Come and See poster

In the Mood for Love2000

Wong Kar-wai's aching study of two strangers discovering a betrayal. Formal perfection and human mess coexist—every frame is composed like a painting, but the longing is raw.

But Glacially paced and entirely internal. If you need plot momentum or dialogue, this will feel like watching someone's memories.

In the Mood for Love poster

Not sure tonight? Get a pick in a minute, starting from Tales of Ordinary Madness

The wildcard

Something you would not have found on your own.

Blast of Silence1961

Both are outsider portraits of men whose inner disintegration is the whole story. No redemption arc, no explanation—just a descent into the logic of their own damage.

Allen Baron's noir about a hired killer returning to Brooklyn. Shot in grainy B&W with poisonous lyricism—it's a fever dream of alienation and professional detachment. Formally radical and utterly alone.

But Extremely low-budget, which shows. Idiosyncratic performances and a mannered style that prioritizes mood over clarity. Very much a cult object.

Blast of Silence poster
More like this (7)

Under the Skin2014

Scarlett Johansson in Glazer's hallucinatory sci-fi nightmare. Disorienting, sensual, elliptical—it trusts you to assemble meaning from mood and abstraction. A film that lives in your nervous system.

But Deliberately obscure plot, long silences, and images that unsettle without explaining. Patience required; answers withheld.

Under the Skin poster

Synecdoche, New York2008

Kaufman's recursive descent into artistic obsession and mortality. Philip Seymour Hoffman as a man losing grip on reality and self. Intellectually daring and emotionally devastating.

But Wilfully confusing, self-pitying, and exhausting. Some will find its ambition insufferable rather than inspiring.

Synecdoche, New York poster

Last Year at Marienbad1961

Resnais and Robbe-Grillet's bewildering puzzle about memory, desire, and whether any of this happened. Visually hypnotic; it rewires how you think about narrative.

But Almost aggressively opaque. There is no solution, only interpretation. For many, that's frustration masquerading as art.

Last Year at Marienbad poster

The Loneliness of the Long Distance Runner1962

Tony Richardson's bitter portrait of working-class rebellion. Tom Courtenay as a boy resisting the system through sheer will. Formally inventive and politically alive.

But Unrelentingly bleak, with a final act that denies you any satisfaction. British kitchen-sink cinema at its most punishing.

The Loneliness of the Long Distance Runner poster

The Savage Innocents1960

Anthony Mann and Ray Spencer's raw study of an Inuit man navigating colonial contact. Shot in harsh beauty; a film about cultural collision that respects its subject's intelligence.

But Ethnographic detail can feel slow if you're accustomed to conventional narrative momentum. Some sequences exist to accumulate lived experience rather than advance plot.

The Savage Innocents poster

A Clockwork Orange1971

Both films refuse the comfort of judging their protagonists. They present degradation without moral instruction, which forces you to confront your own discomfort.

Kubrick's controversial provocation about violence, free will, and rehabilitation. Formally dazzling—the language, the design, the sound—and aggressively confrontational about what cinema can make you feel.

But The sexual violence is graphic and unapologetic. Kubrick uses it deliberately, but if you find that indefensible, this will alienate you entirely.

A Clockwork Orange poster

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles1976

Both films use duration and repetition to unmask what lies beneath routine. Where Ferreri finds madness, Akerman finds the invisible labor that holds life together.

Chantal Akerman's three-hour meditation on a woman's daily rituals—cooking, cleaning, sex work. Formally austere and radically feminist. Time itself becomes the subject; watching becomes an act of attention.

But Static shots of domestic labor will feel monotonous if you need conventional drama. It demands patience and repays it with a completely different kind of cinema.

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles poster

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