Jean-Luc Godard's cinematic oddities First Name: Carmen, Détective, and Hélas pour moi, newly released on Blu-ray from Kino Lorber, embody the vast landscape of possibilities open to the director during the '80s and '90s.
With The Dead Don't Die, Jim Jarmusch deliberately deprives his latest film of the propulsive terrors innate to most zombie films, instead using the genre to matter-of-factly rhapsodize about consumer culture and the inevitability of the apocalypse.
The title suggests that this would be a schlocky B movie with a '70s-style grindhouse aesthetic, but The Man Who Killed Hitler and Then The Bigfoot is, in fact, a finely crafted and emotionally charged drama about ageing, loneliness, and lost love.
Kingdoms of Amalur takes all of the principles of videogames – agency, choice, exploration, conflict – and turns them into an expansive experience of testing the conventions, and even the technical framework, of videogame fiction itself.
Arwen Curry's documentary, Worlds of Ursula K. Le Guin, shows how, in Le Guin's writings, fantasy can be viewed as both a different way of seeing and understanding the past, and a new way of seeing the present -- and what the future could be.