With the discerning eye of a true artist and the investigatory skills of a great journalist, Malle takes us from a street corner in Paris to America’s heartland to the expanses of India in his astonishing epic Phantom India.
Centered on the modern sensibilities of the younger generation, these delicate family dramas are marked by an exquisite formal elegance and emotional sensitivity about birth and death, love and marriage, and all the accompanying joys and loneliness.
In his three fiction features—Who Are You, Polly Maggoo?, Mr. Freedom, and The Model Couple—William Klein skewers the fashion industry, American empire, and governmental mind control with hilarious, cutting aplomb.
A true artist who had deftly used the Soviet film industry to make statements both personal and universal, Shepitko remains one of the greatest unsung filmmakers of all time.
This bruised and bloody collection represents a standout cross section of the nimble nasties Nikkatsu had to offer, action potboilers modeled on the western, comedy, gangster, and teen-rebel genres.
Makavejev’s films about political and sexual liberation were revolutionary, raucous, and ribald. Across these first three films, he investigates love, death, and work; the legacy of war and the absurdity of daily life in a Communist state; criminology and hypnosis; strudels and strongmen.
Often called the Godard of the East, Japanese director Nagisa Oshima was one of the most provocative film artists of the twentieth century, and his works challenged and shocked the cinematic world for decades.
Canadian director Allan King is one of cinema’s best-kept secrets. It was with his cinema-verité-style documentaries that King left his greatest mark on film history. These startlingly intimate studies of people whose lives are in flux are riveting and at times emotionally overwhelming.
In the late fifties and early sixties, Basil Dearden created a series of gripping, groundbreaking, even controversial films that dealt with racism, homophobia, and the lingering effects of World War II, noir-tinged dramas that burrowed into corners of London rarely seen on-screen.
Koreyoshi Kurahara’s free-form approach to moviemaking was perfectly suited to the radical spirit of the 1960s, when he was one of the biggest hit makers working at the razzle-dazzle, youth-oriented Nikkatsu studios.
Of all the cinematic New Waves that broke over the world in the 1960s, the one in Czechoslovakia was among the most fruitful, fascinating, and radical.
Robert Downey Sr. emerged as one of the most irreverent filmmakers of the New York underground of the sixties, taking no prisoners in his rough-and-tumble treatises on politics, race, and consumer culture.
Norman Mailer is remembered for many things— his novels, his essays, his articles, his activism, his ego. one largely forgotten chapter of his life, however, is his late-sixties kamikaze-style plunge into making experimental films.
In 1967 and 1968, the company created four certifiably batty, low-budget fantasies, tales haunted by watery ghosts, plagued by angry insects, and stalked by aliens—including one in the form of a giant chicken-lizard.
These are unforgettable depictions of a postwar Japan troubled by identity crises and moral corruption on scales both intimate and institutional.
Rainer Werner Fassbinder
From the very beginning of his incandescent career, the New German Cinema enfant terrible Rainer Werner Fassbinder refused to play by the rules.