Under Norman Jewison's direction and John Patrick Shanley's writing, Moonstruck -- now available from Criterion -- fully embodies the '80s special character of classically-minded, well-made romantic films.
David Lynch's The Elephant Man, now available from Criterion, is as much a life-affirming parable as it is an exercise in reorienting the boundaries of what we recognize as human--and inhuman.
Claire Denis' masterwork of cinematic poetry, Beau travail, is a cinematic ballet that tracks through tone and style the sublimation of violent masculine complexes into the silent convulsions of male angst.
Preston Sturges' The Lady Eve is layered with texture and substance draped in the gleeful prurience of a master of slapstick and romance who could write foolish millionaires with the same deft ear as cultured hooligans.
Éric Rohmer isn't interested in a pure critique of misogyny; his moral tales are mere observations on how we use other people to serve our interests and how we invent narratives from our relationships through which we define ourselves.
Electronic music is one of the broadest reaching genres by design, and 2015 showcased that spectacularly well with a bevy of albums still heavily represented on playlists today.
The Cameraman is Keaton's last great film, a jubilant, chaotic, and overactive silent romantic comedy that, intentional or not, doubles as a vision of the precarity of celebrity, independence, and artistry in the brutal Hollywood system.
The sense of artifice in Wes Anderson's The Grand Budapest Hotel helped him create an alluring reverie of both color and meaning.