
Claude Sautet Forged an Admirable Path in Character-Study Drama
Many of Claude Sautet’s films were pointed comments on how even the most assured families can be the victims of upheaval when cultural codes are challenged.

Many of Claude Sautet’s films were pointed comments on how even the most assured families can be the victims of upheaval when cultural codes are challenged.

Watching Teo Hernández’s queer avant-garde films, the source for his ideas about cinema as sex and ritual, all culminating in ecstatic visions, becomes self-evident.

As a whodunit, The Second Twin is a nifty tease whose resolution might surprise you, unless you pull yourself away from the dazzle long enough to analyze the story.

Louis Feuillade’s dreamlike 12-episode silent film series Tih-Minh should be experienced, like laudanum, in discreet doses that will linger in our brains until the next fix.

Claude Lelouch’s hugely popular A Man and a Woman was criticized for its sleek, chic, starstruck, pie-eyed, romantic wish fulfillment. Yet therein lay its radicalism.

Daddy is a classic example of an artist making a museum film that showcases her campy and confrontational art and performance.

The three Robert Hossein films in Wicked Games exhibit gender-based power struggles and existentialist tendencies with a touch of absurdism.
From kitchen epics to road odysseys, these nine Chantal Akerman films chart the evolutions and revolutions of one of modern cinema’s most important auteurs.
All four films in Criterion’s Julien Duvivier in the Thirties present a sour, self-critical image of French civilization and do it with finesse.
Roger Vadim’s 1963 wartime drama Vice and Virtue is an almost abstract, self-parodic vision of decadence.
Jules Dassin’s Rififi, a benchmark of the heist genre shows that for the criminal, elegance and brutality go hand-in-hand.