It’s worth taking a dive into the channel's obscure but vibrant depths.
Below are some of the films, collections, and series that have already made the channel a vital service.
If Sylvie et le Fantôme is bittersweet in its lack of consolation, Douce, the standout in this Eclipse bundle, is downright dirge-like.
Few directors are as enamored with the passage of time and the preservation of memory as Richard Linklater.
Miyao wisely orders chapters by theme or emphasis, providing him the ability to jump from one line of reasoning to another, but without losing previous trains of thought.
For me, Ebert always seemed to be there when I needed him.
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.
Red Beard has a Dickensian faith in regular working people.
Structurally, stylistically, thematically, the film is beyond impressive.
Rashomon is a total head case. Ikiru is a spike to the heart.
Repulsion refers to a lot of other movies, but its queasy black humor is entirely Polanski.
Cult director Monte Hellman lets the motors do the talking in Two-Lane Blacktop.
Cox’s heartfelt take on the true-life relationship between Sid Vicious and Nancy Spungen could easily have been just another rock biopic.
A man approaches a uniformed doorman from the sidewalk, holds up a cigarette, and casually asks for a light.
So, a “proletariat trilogy” from the eighties by a Finnish director? It doesn’t sound too delightful, does it?
Until recently, Claude Sautet’s Classe Tous Risques was a long forgotten noir relic.
All in all, this is one of the essential DVD releases of the year.
For nearly a decade, I’ve felt a certain allegiance to Robert Altman’s Short Cuts, and I’d never seen a single frame of it.
Did you know that fucking is the best way to resist totalitarianism?
Pierrot le Fou, of course, abounds in a wide variety of artistic references.