The pugnacious characters in Cassavetes' Husbands couch their inauthenticity in bullying. For them, anger is more authentic than placidity, rage more authentic than sadness, cruelty more authentic than kindness.
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.
Paul Schrader's The Comfort of Strangers presents the discomfiting encounter with another —someone like you—and yet entirely unlike you, mysterious to you, unknown and unknowable.
In Scorsese's hands, the voice-over is less a substitute for what we are not shown but instead becomes a vital thread woven into the fabric of the film's meaning.
While philosopher Stanley Cavell endeavors to show that we must mean what we say in a very important sense, Godard's Bruno Forestier of Le Petit Soldat suggests that we simply cannot and must not mean what we say.
The sense of artifice in Wes Anderson's The Grand Budapest Hotel helped him create an alluring reverie of both color and meaning.
Told through the voices and movements of the legends and pioneers of the '80s Harlem drag-ball scene, Paris Is Burning is an indispensable look at one of America's most influential subcultures of the last half-century.
There are mythical moments in Almodóvar's All About My Mother. We are meant to register repetition in the story as something wonderfully strange, a connection across the chasm of impossibility.
The imaginative filmmaker Karel Zeman influenced many artists including Terry Gilliam, Tim Burton, fellow Czech Jan Švankmajer, the Brothers Quay, and animator Lawrence Jordan's recycling of classic 19th Century imagery.