Angel looking sad while standing on a ledge in Wings of Desire (1987)
While there have been plenty of great fantasy films produced in the U.S. and other English-speaking countries, one would be doing a disservice to themselves by not branching out and exploring such films from other territories. The fantasy genre is one that, perhaps more than any other, knows no limits, so limiting oneself to only watching fantasy movies in English doesn’t feel in line with the genre as a whole.
The Spirit of the Beehive is odd and oftentimes grounded, being something like low fantasy or magical realism… alternatively, the fantasy parts can be read as being merely in one character’s head, which could make the film more of a psychological drama. Anyway, it’s up to one’s interpretation, and there is a somber feeling of childhood innocence/discovery explored throughout the film, with some fantastical ideas potentially being included as a result.
It has a historical setting, thanks to being set during the 16th century, but also works in folktale/ghost story elements; never enough to be an over-the-top fantasy film or anything approaching the horror genre, but enough to ensure Ugetsu stands out. It’s a sometimes eerie and always absorbing film, and perhaps one of Mizoguchi’s most beautiful .
This 1997 film is arguably Miyazaki’s darkest and most epic movie , and is almost definitely his most violent. It tells a sprawling adventure/fantasy story with a fascinating conflict for its main character to get entangled in, and a blunt but effective environmental message at the heart of it all. Princess Mononoke impresses both technically and narratively, and is rightly considered one of the best anime films ever made.
Fanny and Alexander is also one of Bergman’s biggest films, running for three hours if one watches the theatrical cut and just over five hours if one tackles the miniseries version . It could well be one of the best-looking films of the 1980s, and narratively, it sees Bergman dealing with surprisingly relatable and easy-to-identify themes/narrative ideas. Epic length aside, it could well be the Swedish filmmaker’s most approachable work.
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