Unsurprisingly, Welles doesn’t efface his artistic personality for The Trial.
Though different in setting and mood, both films are ruled by the uncertainty principle.
Kino has outfitted this release with a solid transfer and a fun, informative audio commentary.
Time hasn’t dimmed the ability of these three late-period masterworks by the Spanish surrealist to provoke and confound.
A foundational text for modern thrillers, The Day of the Jackal looks and sound superb on Arrow’s Blu-ray.
This political thriller from director John Frankenheimer’s spotty late period is a much richer film than its reputation implies.
Out 1 is largely a film of conversation, as its prolonged rehearsal vignettes regularly give way to even lengthier scenes of verbal self-analysis.
We spoke with the actor about Out 1, his political investments during May ’68, and how France’s current government is a “sad” state of affairs.
As a snapshot of a dialogue between two iconic filmmakers, The Bride Wore Black is fascinating.
A sparely staged version of a play already pared down to basic theatrical elements, the film defines Manoel de Oliveira’s late period.
The film is an extremely deadpan comedy about people resistant to change beyond all rational reasoning.
Manoel de Oliveira has mostly sidestepped the perils of the productive by falling into a satisfying pattern of major and minor works.
Free Men ultimately belongs firmly in the well-intentioned-misfire category, a film of modest ambition and a short grasp.
The film is a frigid and oddly static procession of Hitchcockian shout-outs.
Xavier Beauvois’s film is intimately concerned with the distinct forces of religion.
Agora is an innocuous epic, a pointless spectacle that champions free-thinking intellectuals over violent zealots.
Xavier Beauvois’s Of Gods and Men is, no more and no less, a handsomely mounted French prestige picture.
The film begins as a dryly limp satire of corporate culture and ends as cruel and unusual punishment.
A robust overview of Frankenheimer’s most vital years, despite the recycled extras.
The film proves to be just as engaged with the impossibility of heterosexual relations and the vagaries of desire.