While Ulrike Ottinger accesses the most consequential of decades through nostalgia, she does so with humility.
The festival feels very much on the rise, both as an international industry shindig and a well-funded driver for cultural tourism.
This set of two essential films is light on meaningful supplements, but high on quality cinema.
With The Imaginarium of Doctor Parnassus, Terry Gilliam gets his Fellini freak on.
Il Divo treats the scandal that brought down Italian Prime Minister Giulio Andreotti with acerbic bemusement.
All Is Forgiven’s style may be hermetic, but all the better to keep the plot away from the melodrama it would’ve turned into in lesser hands.
This is a diverting but cool suspense puzzler whose payoff proves to be smaller and more mundane than its twisty, fluid setup.
At first coming off as a step backward for Resnais, the theatricality of Mélo becomes a different sort of experimentalism.
Perennial modernist Alain Resnais enters old-man-cinema territory with grace and style.
In Paris Je T’aime, 18 renowned directors contribute star-studded vignettes about amour, each set in a different Parisian neighborhood.
It presents a portrait of marriage, adultery, and sex that makes about as much sense as the confounding ellipses in its title.
Like Luchino Visconti, Franco Zeffirelli identifies with women, but he doesn’t know how to tap into their souls, only their clothes.
Agustín Díaz Yanes reimagines Dogma but with none of its moral curiosities and certainly none of its humor.
François Ozon’s compositions suggest a man schooled on Sirk, yet there’s no real relationship between the film’s eight women and their surroundings.