If the film-within-the-film is a vapid fetishization of women’s martyrdom, Lux Æterna is a willful exercise in repulsing its own audience.
Criterion’s release of Beineix’s epic erotic drama recovers the sumptuousness and precision of its images.
This is a beautiful refurbishing of one of Jarmusch’s more uneven films, which is still a must-see for a handful of beautiful performances.
Throughout, Jim Jarmusch playfully blurs the line between driver/passenger, servant/customer, and native/immigrant.
There’s possibly no other living director as in sync with the politics of touch as Claire Denis.
It plays upon memories of other films that cast aging nonconformists as hip mentors to their doe-eyed queer charges.
Introducing the world to the galvanic, incomparable Béatrice Dalle constitutes the only noteworthy facet of Betty Blue.
The Tindersticks’ mini-tour for their new box set of soundtrack work for Claire Denis films graced Los Angeles Saturday night for a show at the little-known Luckman Fine Arts Complex.
Trouble Every Day is quite possibly Claire Denis’s most challenging and unsettling film, both utterly typical of her approach and yet also a true outlier in her career.
That the film was adapted from a novel is gawkily evident not only in the bare details of the above synopsis.
The presence of an Alex Cox sidebar hints at the series’s anarchistic strivings.
Trouble Every Day aches with spiritual dread.
Nick Nolte’s weathered skin-formerly-known-as-sexiest-alive appeal is nearly authoritative enough to make you believe Clean’s otherwise unforgivable non sequiturs.
Walk the line with The Intruder but take slow, deep breaths afterward.
With The Intruder, Claire Denis’s evolution from narrative cogency toward a more elusively trance-like aesthetic reaches a mesmeric apex.
In Gate of the Sun, Palestinians may not have the right to walk on their homeland, but they do have the right to speak and dream.
Throughout, Michael Haneke’s images are profoundly evocative of his moral and philosophical preoccupations.
It demonstrates director Claire Denis’s signature obsession with the human body, cultural rifts and the permissions of sex.