Just in time for Valentine’s Day, Truffaut’s pioneering French New Wave masterpiece arrives to remind us of love’s myriad self-delusions.
It’s worth braving the winds of the harsh merciless world to obtain this upgrade of a stone-cold espionage classic.
Martin Ritt’s grim The Spy Who Came in from the Cold plays like an anti-thriller companion piece to the director’s acclaimed anti-western Hud.
A bodice-ripper invested with the profundity of a Stendhal novel, Lola Montès is also, even more than La Ronde, Max Ophüls’s definite commentary on movie-watching.
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