This film feels like it was made by someone who trusts the audience completely. A woman misses her bus home and just walks back. That’s it. And somehow it’s super touching and intimate. The music plays a big part. There’s a kind of tenderness in negative space. In what’s not said, not shown.

I loved this campaign. Completely committed to its own absurdity. The timing, the deadpan, the total lack of winking at the camera. Cairo creativity at its best. They made something genuinely surreal and called it cheese advertising.

The structure of this film is crazy. You’re watching two timelines slowly converge on a truth that, once revealed, makes everything you’ve seen feel different and heavier. A masterclass in delayed meaning. Truly inspiring.

This short follows a lonely immigrant who gradually loses his mind in a new city. Struggling to connect and to find love. It’s beautiful and heartfelt. Issaka Sawadogo gives an incredible performance. I love how surveillance footage and a docu-style visual language shape it into something deeply cinematic and slightly menacing.

Nobody is simply good or bad or broken for clean reasons. The authenticity of the dialogue, the depth of character, the acting. All of it grounded in a world that feels completely real and inspiring. That’s a hard thing to pull off across five seasons. Fuzzy Dunlop is one of my favourite scenes.

A man drives around asking strangers to help him die. What Kiarostami does with that premise: the patience of it, the philosophical restlessness, the unexpected tenderness, is something I keep returning to. He makes films that breathe. It’s pure cinema. Every time I feel the urge to over-explain something in my work, this is the film I think about.

Harold Einstein is one of those directors who makes you feel like the camera has no ego. I love how he folds irony and comedy into offbeat spots with a twisted moral logic. Minimal blocking, because the deadpan does all the work.