Filmed under a cool glass of calm and enwrapped in an airy atmosphere, La Cérémonie makes judicious use of its setting to starkly contrast its warring classes.
Building on his 2021 debut, with newly released The Fatalist, Buffalo Nichols looks to be a 21st century Delta king cut from the tattered soul-cloth of Robert Johnson.
In After Hours, Scorsese’s camera wanders through a tableau of living and breathing graffiti incarnated as ’80s New York City’s most dangerous bottom-feeders.
Once possessing a genially handsome face, Dirk Bogarde cut a daring figure in The Servant‘s darker material, which readily accommodated his increasingly aged and weathered looks.
Parker Posey’s performance in Party Girl – a parodic gesture that sweeps the frames in wide, showy arcs – is pure, sparkling kitsch delivered in champagne coupes.
“aLAcarte pt. 2” offers another sweet slice of Ekiti Sound’s culturally-spiced pie. It’s a sensuously shuddering, percussive jam that is as minimal as deep.
Krzysztof Kieślowski’s Three Colors – Blue, White, and Red – are grand reminders of the little motions that gather slowly but surely, to deliver the quick, sudden turns that give even the most indolent life meaning.
Robert Cray plays subtly with basic blues convention on Midnight Stroll, turning it into a brand-new face for listeners who have heard it all before.
Bruno Barreto’s romantic charmer Dona Flor and Her Two Husbands is rich with sensuous detail that fills every scene with dizzying amounts of culture, music, and atmosphere.
Denzel Washington’s voiceover in neo-noir Devil in a Blue Dress is an equal mix of deadpan charm and wide-eyed innocence, which textures and nuances his performance.