Film

The Death of Klinghoffer

John Adams's opera about the 1985 Achille Lauro hijacking, where Palestinian militants seize a cruise ship and its passengers. Sung throughout, it confronts a real atrocity without flinching or choosing sides—an unflinching meditation on violence, identity, and how we narrate tragedy. Not comfort; not entertainment. Art that demands something of you.

Should you watch it?

Watch it if you care more about a story told through music and stillness than through plot, and you want an opera that forces you to sit with an unresolved, morally tangled event.

Skip it if you need a brisk plot or easy-to-follow lyrics, since much of this runs on static staging and dense, unfamiliar vocal music.

What it asks of you: Two hours of sustained, unhurried attention, with long sung stretches, a slow build, and a tone that stays grave rather than light.

If you liked this

Come and See1985

Elem Klimov's unflinching Soviet film about childhood destroyed by war. It refuses to look away from atrocity or soften its impact. A masterpiece of moral witness that never exploits what it shows.

But Genuinely harrowing. Not metaphorically—it documents suffering with such clarity that watching feels like complicity. One sitting is nearly all most people can bear.

Come and See poster

Requiem for a Dream2000

Darren Aronofsky's descent into addiction and despair told through hypnotic sound design and fractured editing. The formal language mirrors psychological collapse. Devastating and formally brilliant.

But Relentlessly bleak with no redemption in sight. The style—though necessary—can feel excessive to some. Not a film you enjoy; an ordeal you survive.

Requiem for a Dream poster

A Ghost Story2017

David Lowery's meditation on time, loss, and what remains after death. Formally restless, philosophically urgent, visually poetic. Casey Affleck under a sheet somehow delivers the performance of a lifetime.

But Deliberately slow and abstract. The plot is almost nonexistent. If you need conventional narrative momentum, this will test your patience severely.

A Ghost Story poster

Not sure tonight? Get a pick in a minute, starting from The Death of Klinghoffer

The wildcard

Something you would not have found on your own.

From the East1993

Like Adams's opera, it refuses to narrativize tragedy or make suffering digestible. Both insist the audience must sit with discomfort rather than be moved past it. Both trust formal severity over emotional manipulation.

Chantal Akerman's 90-minute fixed camera on the streets of Russia and Eastern Europe in 1991. No music, no editing, no story—just witnessing. A meditation on collapse, displacement, and what it means to look at others.

But Nothing happens. It is nine reels of street photography. Some call it profound; others call it punitive boredom. No middle ground exists.

From the East poster
More like this (5)

The Turin Horse2011

Béla Tarr's final film: a black-and-white apocalypse about Nietzsche's final days, collapse, and the end of the world. Hypnotic, desolate, morally rigorous. A goodbye from a master.

But Wordless for long stretches. Shot in stark monochrome. Three hours of unrelenting bleakness with no conventional resolution. Requires surrender rather than engagement.

The Turin Horse poster

Synecdoche, New York2008

Charlie Kaufman's baroque meditation on art, mortality, and the impossibility of authentic representation. Formally adventurous, philosophically dense, genuinely unsettling. A film that lives in your mind for years.

But Deliberately confusing and overstuffed. The narrative collapses into abstraction. Some viewers find it pretentious; many find it exhausting before it clicks.

Synecdoche, New York poster

Naked1993

Mike Leigh's brutal portrait of masculinity, rage, and urban alienation in Thatcher's London. David Thewlis's monologues are extraordinary. Unflinching moral anatomy of cruelty.

But Misogynistic violence pervades it (the film condemns it, but you still watch it). Relentlessly hostile tone. No one leaves feeling better.

Naked poster

Annette2021

Leos Carax's operatic nightmare about fame, parenthood, and corruption. Sung throughout, visually delirious, morally rotten. Not a conventional narrative—a fever dream with a message.

But Tonally bizarre and intentionally off-putting. The shifts between genre and register confuse rather than clarify. Adam Driver's performance divides viewers sharply.

Annette poster

Under the Skin2014

Jonathan Glazer's slow-burn sci-fi horror about predation and otherness. Scarlett Johansson silent and unknowable. The score is hypnotic. Formally radical and genuinely haunting.

But Almost plotless. Long stretches of ambient dread with minimal dialogue. The ending offers no explanation or catharsis. Maddening to many viewers.

Under the Skin poster

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