Luchino Visconti's L'Innocente Lushly Escalates Emotional Intensity and Moral Quagmire

The wealthy, spoiled, entitled, monstrously egotistical male protagonist in Visconti's L'Innocente spends his time in various states of suffering, often sweating profusely and sometimes with eyes puffy and tear-stained.


Romy Schneider Shimmers, Simmers, "Sautets" and "Zulawskis"

Directors Claude Sautet and Andrzej Zulawski turn the camera's gaze on the glorious Romy Schneider in these four drama, romance, and crime films available from Film Movement and Kino Lorber.


"Everything Is Everything": 25 Moments That Make 'Marriage Story' Fall Apart Masterfully

It's the little things that make and break marriages and movies. In the case of Baumbach's Marriage Story, it's 25 little things.


Parallelism and Deliverance in Barbara Loden's 'Wanda' and Natalia Leite's 'Bare'

Natalia Leite's 2015 film Bare picks up where Barbara Loden's 1970 film Wanda left off, each acting, indirectly, as the proto- and fourth wave- feminist renderings of the other.


'Gloria Bell': Silent Suffering and Disco Dancing in Late Capitalism

Gloria Bell painfully conveys that this economic system thrives on our isolation.


John Badham's 'Dracula', the Rock Star

On John Badham's Dracula. Because the director of Saturday Night Fever is the first person you would think of to direct Dracula, right?


Leaving Is Just as Hard as Loving in 'Marriage Story'

Noah Baumbach's attention to the daily agonies of divorce in Marriage Story displays love's enduring power—or at least, its residue.


Oh, That Tiger!: Fritz Lang's Indian Epics

Fritz Lang's The Tiger of Eschnapur and The Indian Tomb are hothouse flowers of cinema with gyrating dancers, man-eating tigers, pagan magic, groaning lepers, and mythic moments. Has Lang ever come up with more desperate, mad, or heroic symbols of futile struggle?


The Power of Looking Compels 'Portrait of a Lady on Fire'

Set in 18th century France, Céline Sciamma's Portrait of a Lady on Fire applies ravishing historical details to the timeless poetry of forbidden love.


Venus as a Boy in Silent Film 'Little Old New York'

Sidney Olcott's silent film Little Old New York falls into a tradition of men who find themselves strangely attracted to boys that turn out to be girls in disguise.


On Making 'Waves': Interview with Director Shults and Cast

Director Trey Edward Shults and the cast of Waves break down the process of making their emotionally raw family drama.


Quiet Desires in Allison Anders' 'Gas Food Lodging'

Allison Anders' Gas Food Lodging gives us such compelling characters that we cannot help but sit and observe them.


John Dahl's 'The Last Seduction' Is a Smart, Sultry Neo-Noir That Subverts Expectations

Linda Fiorentino pulls out all the stops and delivers a tour-de-force performance in John Dahl's gripping neo-noir, The Last Seduction, a film full of blue moods, dark humour, and hairpin turns.


'Official Secrets' Is a Devastating Reminder of the Power of Deception

Gavin Hood's thriller about British whistleblower Katharine Gun's attempt to stop the Iraq War, Official Secrets, is nothing special artistically, but its intense relevance burns the screen.


The Primal Instinct that Drives Wild Things in 'Gone to Earth' and 'The Wild Heart'

Powell and Pressburger's Gone to Earth, and David O. Selznick's revision, The Wild Heart, take a philosophical inquiry into whether animals have souls and to what extent humans are animals.


'Heaven Can Wait' and Lubitsch's Love of Romance's Paradoxes

Heaven Can Wait is Lubitsch's most successful film due to his ability to turn a period-piece into an enchanting story about the human condition.


Chanya Button's 'Vita & Virginia' Imprisons and Cages Virginia Woolf

Looking upon Virginia Woolf with an immature and childish creative lust, writer/director Chanya Button and co-writer Eileen Atkins reduce her to a bland literary figure in Vita & Virginia, leaving us to remember the contrarian truth.


Commodified Authenticity and Ethnic Resistance in Nahnatchka Khan's 'Always Be My Maybe'

'Authenticity' is an ideological construct that should be questioned and critiqued, as Nahnatchka Khan has done so well in her film, Always Be My Maybe.


The Willful Child in HBO's 'My Brilliant Friend'

HBO's My Brilliant Friend feels almost radical for its raw and un-romanticized depiction of female friendship and resistance in all its emotional complexities.


Stark Realism Isn't Good Storytelling: Director Ritesh Batra on 'Photograph'

Don't mistake film for realism, it's all fantasy, says Director of Photograph, Ritesh Batra.

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Joanna Hogg's 'The Souvenir' Is a Defiantly Autobiographical Domestic Drama

Director Joanna Hogg sheds nuanced light on a dysfunctional relationship similar to one of her own in The Souvenir.


Olivier Assayas' 'Non-Fiction' Fiddles with Seriousness

In Olivier Assayas' speedy, slightly wan dispatch from salon society, Non-Fiction (Doubles vie), Parisians have badly concealed affairs and argue loudly but inconclusively about books and society.


What Do We Talk About When We Talk About Literature? Olivier Assayas' 'Non-Fiction'

By satirizing the French literary intelligentsia, Assayas' Non-Fiction (Doubles vie) chronicles the hypocrisies of the modern psyche without attaching itself to any particular worldview.


Fernando Lamas Shows His 3-D Assets in Kino Lorber's 'Sangaree' and 'Jivaro'

If you care about 3-D history, or about Lamas, or about how far the '50s could push erotic buttons (or un-buttons) within family entertainment, you'll have a good time with 'Sangaree' and 'Jivaro'.


The Rich Humanism of Sebastián Lelio's 'Gloria Bell'

For those curious about what awaits them on the other side of youth, writer-director Sebastián Lelio's indie drama Gloria Bell offers an unflinching glimpse at some unforgiving terrain.


Julianne Moore Anchors Sebastián Lelio's Striking 'Gloria Bell'

Sebastián Lelio's fascination with womanhood and desire have culminated in Gloria Bell, with actor Julianne Moore tailor-made to its particular kind of searching melancholy.


All You Love and Hate Will Disappear: 'Ash Is Purest White'

In Jia Zhang-Ke's powerful love story, Ash Is Purest White, a woman and her gangster lover enact a dark dance of betrayal while modern China changes around them in explosively strange ways.


'Isn’t It Romantic' Is Escapist Fare with a Cheeky Twist

Starring Rebel Wilson, the half rom-com, half satire Isn't It Romantic has a hypocritical message, but its self-mocking charms work well.


Wild Women, Forty Pricks, and Western Noir

Samuel Fuller's Forty Guns serves as a remarkable film that fuses the Western with film noir and provides ample space, at least during its first half, for Barbara Stanwyck to provide a commanding performance that hints at what a Western female heroine might look like.


Pawel Pawlikowski's 'Cold War' Is a Lustrous, Slyly Subversive Melodrama

Polish director Pawel Pawlikowski's Cold War, a sweeping romance, is equally indebted to grand spectacle and the practical compromises of wartime Europe.


'If Beale Street Could Talk' Is an Intimate Rendering of Black Love in the Face of Hatred

Barry Jenkins' If Beale Street Could Talk is a near-perfect success both as a grand statement of solidarity and as a gorgeously wrought, long-overdue story of black life and black love.


Barry Jenkins' 'If Beal Street Could Talk' Is Unapologetically Romantic

Unlike justice, love has not abandoned the protagonists in Barry Jenkins' adaptation of James Baldwin's' If Beale Street Could Talk.


Disobedience Is Essential: Interview with Filmmaker Sebastián Lelio

Sebastián Lelio reflects on his first English language feature, Disobedience, and how art, the individual, and society benefits from one's rebellion against one's own worldview.


The One About the One About 'Friends'

Kelsey Miller's I'll Be There for You, on the production and cultural legacy of Friends, is a must-read for fans and anyone interested in understanding TV culture over the past 20 years.


'Widows' Is an Exquisitely Composed Feminist Heist Thriller

Who knew that one of film's greatest arbiters of misery, Steve McQueen, also had a fun side with his latest film, Widows?


Viola Davis and Elizabeth Debicki Steal the Show in 'Widows'

Steve McQueen's heist caper, Widows, is ultra-slick but gets sidetracked by its goofy plot twists. No matter; Viola Davis and Elizabeth Debicki's performances make for a satisfying experience.

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