The film represents all of cinema’s possibilities in 106 minutes.
Gorgeously shot and affectingly brooding, Hôtel du Nord shows equal amounts of empathy for its occupants one and all.
Viva Maria deserves rescuing as more than simply a curiosity within Louis Malle’s diverse oeuvre.
It’s been part of the film canon for so long that it’s valuable to remind audiences how gloriously alive and just plain fun it is.
You officially no longer have an excuse not to own one of the greatest of all films.
François Truffaut posits theatricality as wartime solidarity and resistance in his late-career hit The Last Metro.
Criterion’s very handsome transfer does wonders for the film’s gentle, practically caressing lighting and deep reds and browns.
A bodice-ripper invested with the profundity of a Stendhal novel, Lola Montès is also Max Ophüls’s definite commentary on movie-watching.
The film illustrates not merely Ophüls’s unparalleled sense of flow and texture, but also his proto-feminism.
Le Plaisir illustrates not merely Max Ophüls’s unparalleled sense of flow and texture, but also his proto-feminism.