This set of two essential films is light on meaningful supplements, but high on quality cinema.
The film works best when it focuses viewer attention most acutely on the story, deflecting it away from the director’s manipulations.
Danièle Thompson’s skillfully executed comedy of manners is either deeply profound or insupportably shallow.
Rossellini’s great history lessons blow the dust off textbooks.
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.
Alain Resnais’s Gallic transposition of British playwright Alan Ayckbourn’s Private Fears in Public Places is a masterful trifle.