Whet your appetite with this 'best of the festival' selection. Start with a range of familiar faces in box office hits that you can watch right here, right now.
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SBS Movies

19 Feb 2014 - 12:58 PM  UPDATED 24 Feb 2015 - 10:26 AM

The Film Festival of 100 Clicks is over, but you can continue to enjoy a range of SBS movies at a time that suits you. Click here to browse the full range of feature films that are currently available to watch online, powered by SBS On Demand.

 

Find out more about the films in this collection, and click on the link to watch one right now. Don’t forget to rate each of the films you watch, to go in the draw to win a World Movies Secret Cinema experience. The more you watch, the greater your chances of winning!

Biutiful

A showcase for its star, Spanish actor Javier Bardem, this 2011 drama from director Alejandro Gonzales Inarritu (Babel, 21 Grams) sees Uxbal, a petty criminal in Barcelona, attempt to make amends for his life, after being told by his doctor that he is suffering from a terminal disease. Acutely observed, and unsparing in its depiction of hardscrabble immigrant life in western Europe, it’s perhaps overly generous to its protagonist – Uxbal is at times an almost saint-like figure – yet the occasionally schematic story is given real emotional weight by Bardem’s performance, as nuanced and unsentimental, as human, as any in recent cinema. (SD)


Beautiful Lies

Even Audrey Tautou’s best laid plans can go awry: in Pierre Salvadori’s charming romp hairdresser Emilie (Amelie star Tautou) decides to motivate her single mother, Maddy (Nathalie Baye), by copying out the anonymous love letter she previously received from her love-struck handyman, Jean (Sami Bouajila). The scheme works too well, with the suddenly excited Maddy pursuing Jean in a way that no-one wants to see from their mother. From William Shakespeare to Jane Austen, matchmaking has been a recipe for comic disaster, and Salvadori finds a delicious level of exasperation in Tautou’s meddling daughter. (CM)
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The Disappearance of Alice Creed

Few directorial debuts announce themselves with such bravado as J Blakeson’s The Disappearance of Alice Creed. The young Brit cuts together a dazzling, dialogue-free first 10 minutes, during which kidnappers Vic (Eddie Marsan) and Danny (Martin Compston) prepare for the abduction of heiress Alice (Gemma Arterton). Once the deed is done, Blakeson’s film turns to the cruel cat/mouse psychology of the captive/captor relationship. Alice is far from the meek ‘daddy’s daughter’ they expected, and her survival instincts kick in. Marsan is a vile, effective villain; Arterton, in her calling card film, gives a fearless physical performance. To the last gasp ending, Blakeson’s adrenalised 2009 thriller (oddly, his only film to date) is a white-knuckle blast. (SF)
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Boy

New Zealand filmmaker Taika Waititi does an outstanding job of capturing the strange and joyous currents of childhood in this coming of age comedy about an 11-year-old everyone calls Boy (James Rolleston) from the North Island’s Bay of Plenty. Boy's popular culture fantasies – its 1984 and he’s big on Michael Jackson’s Thriller album – are mixed up with his hopes for the return of his long absent dad. The hilarious and the bittersweet are intertwined here, especially once the errant father (played by Waititi) returns with his haphazard motorcycle gang. In Boy’s loving eyes, a pub brawl memorably becomes the clip for Michael Jackson’s Beat It. (CM)
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Let The Right One In

Tomas Alfredson’s perfectly constructed, elegant 2008 adaptation of John Ajvide Lindqvist’s romantic horror tale remains a work of aching beauty and jarring horror. Just like it’s central vampiric character – Lina Leandersson’s undead tween-ager Eli – it has aged beautifully and also not at all; the isolated existence of 12 year-old Oskar (Kare Hedebrandt) is as poignant as ever. A lonely, hungry pairing carved from the frigid landscape of a country gripped by cold and darkness, Oskar and Eli find life-giving co-dependence in each other. Or is their new bond a frightening starting point for two natural born killers? Alfredson and Lindqvist find deep beauty and complex horror in every frame.  (SF)
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The Blonde With Bare Breasts

Okay, so the film’s title actually relates to Manet’s famous painting, the theft of which kicks off proceedings in this jaunty French farce. Two young brothers live on a barge and eke out a living as small-time crooks until they hit on a plan to steal said painting from the Mussee d’Orsay. They don’t anticipate being noticed – and followed –  by the Museum’s security guard, Rosalie (Vahina Giocante) but they certainly take notice of the blonde with... well, you know. To their surprise, the free spirit eagerly consents to their plans to ‘kidnap’ her and what follows is an unconventional ménage a trois, with lots of skinny dipping in the Seine... and a posse of art patrons in pursuit of both of the blondes with well, you know. (FW)


Mammoth

After the success of his intimate dramatic works Together (2000), Lilya 4-Ever (2002) and A Hole in My Heart (2004), Swedish auteur Lukas Moodysson gravitated towards the universal human experience with 2009’s Mammoth. The intertwined lives of an American couple (Gael Garcia Bernal, Michelle Williams), their Filipino nanny (Marife Necesito) and a Thai sex worker (Run Srinikornchot) are plotted darkly and densely in Moodysson’s profoundly moving study of family dynamics and the heartache of parenting. The title references an artefact central to the film, made from the ivory of a frozen prehistoric elephant; it is also the Tagalog word for ‘mother’. (SF)


Pusher

Nicholas Winding Refn’s 1996 debut Pusher is an exercise in stylish ultra-realism set amidst the drug trade bit-players working Copenhagen’s dark streets. Frank (a riveting Kim Bodnia) loses control of his most ambitious trafficking scheme yet; Balkan heavyweight Milo (Zlatki Buric) is flexing his muscle, threatening to take a pound of flesh for each kilo owed to him. Further adding to Frank’s woes are his dimwitted skinhead mate Tony (Mads Mikkelsen), and a drug unit sting that is gaining momentum. The first instalment in Refn’s celebrated trilogy, Pusher boasts an assaultive aesthetic (thrash-metal music score; skin-splitting violence; raw, desperate emotion) that makes for gruelling, compelling cinema. (SF)


In A Better World

Written (like seemingly every modern Danish film) by Anders Thomas Jensen, this earnest drama from director Susanne Bier won both the Golden Globe and the Academy Award for Best Foreign-Language Film in 2011. It’s essentially a melodrama, a tale of a once-loving marriage succumbing to various external pressures – yet one which touches on real-world political issues, its action shuttling (much like its doctor protagonist) between the surface placidity of a small town in Denmark, and the violent chaos of a Sudanese refugee camp. As ever, Bier extracts fine performances from her cast, charismatic star Mikael Persbrandt in particular. (SD)


Let The Bullets Fly

After this delirious comedy of doublecrosses, Ge You, Jiang Wen and Chow Yun-fat should be dubbed the “new Marx Brothers”. During China’s chaotic 1920s, a bandit (Jiang) kills and then impersonates a politician and forces the dead man’s aide (Ge) to help him scam money out of a local ganglord (Chow). There may be trouble knowing what’s what or who’s who (especially with Chow playing a double role), but when three talented actors are having this much fun why not join in? Jiang also directs and, like his previous, more serious films, takes time to throw in a daring contemporary political allusion or two. (RE)