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Taking place largely over the course of one tense night, Carol Reed’s psychological noir, set in an unnamed Belfast, stars James Mason as a revolutionary ex-con leading a robbery that goes horribly wrong.
With his trademark mixture of empathy and scrutiny, Errol Morris has changed the face of documentary filmmaking in the United States, and his career began with two remarkable tales of American eccentricity.
Errol Morris turns his camera on one of the most fascinating men in the world: the pioneering astrophysicist Stephen Hawking, afflicted by a debilitating motor neuron disease that has left him without a voice or the use of his limbs.
Jean-Pierre Melville began his superb feature filmmaking career with this powerful adaptation of an influential underground novel written during the Nazi occupation of France.
Truffaut made The Soft Skin at a time when he was immersing himself in the work of Alfred Hitchcock, and that master’s influence can be felt throughout this complex, insightful, and underseen French New Wave treasure.
One of the first and best-loved films of this period in his career is The Bitter Tears of Petra von Kant, which balances a realistic depiction of tormented romance with staging that remains true to the director’s roots in experimental theater.
During his first decade at Shochiku studios, where he dabbled in many genres, Ozu put out a trio of precisely rendered, magnificently shot and edited silent crime films
This bittersweet film from Jean Renoir, based on a story by Guy de Maupassant, is a tenderly comic idyll about a city family’s picnic in the French countryside and the romancing of the mother and grown daughter by two local men.
This is a faithful big-screen adaptation of Richard Adams’s classic British dystopian novel about a community of rabbits under terrible threat from modern forces.
A masterpiece from Nicolas Roeg, Don’t Look Now, adapted from a story by Daphne du Maurier, is a brilliantly disturbing tale of the supernatural.
This collection of Kinoshita’s first films—four made while the war was going on and one shortly after Japan’s surrender—demonstrates the way the filmmaker’s humanity and exquisite cinematic technique shone through even in the darkest of times.
A work of memory and imagination, the film burrows into what the filmmaker calls “the heart of the heart” of the continent, conjuring a city as delightful as it is fearsome, populated by sleepwalkers and hockey aficionados.
A mix of the witty and the utterly absurd, The Palm Beach Story is a high watermark of Sturges’s brand of physical comedy and verbal repartee, featuring sparkling performances.
A trademark Cronenberg combination of the visceral and the cerebral, this phenomenally gruesome and provocative film about the expanses and limits of the human mind was the Canadian director’s breakout hit in the United States.
It Happened One Night is among the most gracefully constructed and edited films of the early sound era, packed with clever situations and gags that have entered the Hollywood comedy pantheon.
This multilayered comedy from Sydney Pollack follows the elaborate deception of a down-on-his-luck New York actor who poses as a woman to get a soap opera gig.
The biggest hit from the most popular Italian filmmaker of all time, La dolce vita rocketed Federico Fellini to international mainstream success—ironically, by offering a damning critique of the culture of stardom.
With a background in music hall and mime performance, Tati steadily built an ever-more-ambitious movie career that ultimately raised sight-gag comedy to the level of high art.
When Japanese New Wave bad boy Seijun Suzuki delivered this brutal, hilarious, and visually inspired masterpiece to the executives at his studio, he was promptly fired.
A full-throttle espionage thriller, starring Joel McCrea as a green Yank reporter sent to Europe to get the scoop on the imminent war, it’s wall-to-wall witty repartee, head-spinning plot twists, and brilliantly mounted suspense set pieces.
Featuring sensuous cinematography, a lush score, and an award-winning central performance by the great Toni Servillo, this transporting experience by the brilliant Italian director Paolo Sorrentino is a breathtaking Felliniesque tale of decadence and lost love.
What seems at first to be a straightforward tale of two people—played by Oscar-winning actress Juliette Binoche and opera singer William Shimell—getting to know each other over the course of an afternoon gradually reveals itself as something richer, stranger, and trickier.
Terence Stamp is Willie, a gangster’s henchman turned “supergrass” (informer) trying to live in peaceful hiding in a Spanish village. Sun-dappled bliss turns to nerve-racking suspense, however, when two hit men—played by John Hurt and Tim Roth—come a-calling to bring Willie back for execution.
An icon of the American avant-garde, Hollis Frampton made rigorous, audacious, brainy, and downright thrilling films, leaving behind a body of work that remains unparalleled.
Roman Polanski imbues his unflinchingly violent adaptation of William Shakespeare’s tragedy of ruthless ambition and murder in medieval Scotland with grit and dramatic intensity.
David Lynch’s 1977 debut feature, Eraserhead, is both a lasting cult sensation and a work of extraordinary craft and beauty.
Seconds, directed by John Frankenheimer, concerns a middle-aged banker who, dissatisfied with his suburban existence, elects to undergo a strange and elaborate procedure that will grant him a new life.
This smash road comedy from Oscar-winning director Alfonso Cuarón is a funny and moving look at human desire.
After an ivory-hunting safari offends an African tribe, the colonialists are captured and hideously tortured. Only Cornel Wilde’s marksman is released, without clothes or weapons, to be hunted for sport. This stripped-to-the-bone narrative is a meditation on the notion of civilization.
After the shocking suicide of their friend, a group of thirtysomethings reunite for his funeral and end up spending the weekend together, reminiscing about their shared past as children of the sixties and confronting the uncertainty of their lives as adults of the eighties.
It’s 1968, and the whole world is watching. With the U.S. in social upheaval, famed cinematographer Haskell Wexler decided to make a film about what the hell was going on. Medium Cool, his debut feature, plunges us into the moment.
The colorful, electrifying romance that took the Cannes Film Festival by storm courageously dives into a young woman’s experiences of first love and sexual awakening.
A pulse-pounding political thriller, Greek expatriate director Costa-Gavras’s Z was one of the cinematic sensations of the late sixties, and is a technically audacious and emotionally gripping masterpiece.
Two-bit hustler Harry Fabian (Richard Widmark) longs for a life of ease and plenty. Trailed by an inglorious history of go-nowhere schemes, he tries to hatch a lucrative plan with a famous wrestler.
Thieves’ Highway vividly depicts the perilous world of “long-haul boys,” who drive by night to bring their goods to the markets of America’s cities. Richard Conte stars as ex-G.I. Nick Garcos, a tyro trucker bent on satisfaction from the man responsible for crippling his father.
In a beautifully understated performance, Redford is David Chappellet, a ruthlessly ambitious skier competing for Olympic gold with an underdog American team in Europe, and Gene Hackman provides tough support as the coach who tries to temper the upstart’s narcissistic drive for glory.
After making such American noir classics as Brute Force and The Naked City, the blacklisted director Jules Dassin went to Paris and embarked on his masterpiece: a twisting, turning tale of four ex-cons who hatch one last glorious robbery in the City of Light.
Milcho Manchevski’s Before the Rain crosscuts the stories of an orthodox Christian monk, a British photo agent, and a native Macedonian war photographer to paint a portrait of simmering ethnic and religious hatred about to reach its boiling point.
In Shallow Grave, three self-involved Edinburgh roommates take in a brooding boarder, and when he dies of an overdose, leaving a suitcase full of money, the trio embark on a series of very bad decisions, with extraordinarily grim consequences for all.
In Arnaud Desplechin’s beguiling A Christmas Tale, Catherine Deneuve brings her legendary poise to the role of Junon, matriarch of the troubled Vuillard family, who come together at Christmas after she learns she needs a bone marrow transplant from a blood relative.
Jacques Becker lovingly evokes the belle epoque Parisian demimonde in this classic tale of doomed romance. When gangster’s moll Marie (Simone Signoret) falls for reformed criminal Manda (Serge Reggiani), their passion incites an underworld rivalry that leads inexorably to treachery and tragedy.
The mission of the WCP is to preserve and present marginalized and infrequently screened films from regions generally ill equipped to preserve their own cinema history.
The colossally popular Zatoichi films make up the longest-running action series in Japanese history and created one of the screen’s great heroes: an itinerant blind masseur who also happens to be a lightning-fast swordsman.
A young Jewish boy living in Nazi-occupied Paris is sent by his parents to the countryside to live with an elderly Catholic couple until France’s liberation. Forced to hide his identity, the eight-year-old, Claude, bonds with the irascible, staunchly anti-Semitic Grampa (Michel Simon).
From the very beginning of his incandescent career, the New German Cinema enfant terrible Rainer Werner Fassbinder refused to play by the rules.
As hard-hitting as its title, Brute Force was the first of Jules Dassin’s forays into the crime genre, a prison melodrama that takes a critical look at American society as well, starring Burt Lancaster.
A landmark collaboration between writer H. G. Wells, producer Alexander Korda, and designer and director William Cameron Menzies, Things to Come is a science fiction film like no other, a prescient political work that predicts a century of turmoil and progress.
Before he left his mark on cinema forever with the revolutionary The Battle of Algiers, Italian director Gillo Pontecorvo directed this uncompromising World War II drama about a young Jewish woman (Susan Strasberg) in a Nazi concentration camp.
At a village railway station in occupied Czechoslovakia, a bumbling dispatcher’s apprentice longs to liberate himself from his virginity. Wry and tender, Jirí Menzel’s Academy Award-winning Closely Watched Trains is a masterpiece of human observation.
An inept Czech peasant is torn between greed and guilt when the Nazi-backed bosses of his town appoint him “Aryan controller” of an old Jewish widow’s button shop. Humor and tragedy fuse in this scathing exploration of one cowardly man’s complicity in the horrors of a totalitarian regime.
One of Spanish cinema’s great auteurs, Carlos Saura brought international audiences closer to the art of his country’s dance than any other filmmaker, before or since.
Astonishingly photographed, and featuring unforgettable, cascading scores by Philip Glass, these are immersive sensory experiences that meditate on the havoc humankind’s obsession with technological advancement has wreaked on our world.
Suffused with dread and paranoia, this Fritz Lang adaptation of a novel by Graham Greene is a plunge into the eerie shadows of a world turned upside down by war.
Fletcher Munson has a doppelgänger in dentist Dr. Jeffrey Korchek. Steven Soderbergh presents a deranged comedy of confused identity, doublespeak, and white-knuckled corporate intrigue, confirming his status as one of America’s most daring and unpredictable filmmakers.
With Jubilee, legendary British filmmaker Derek Jarman channeled political dissent and artistic daring into a revolutionary blend of history and fantasy, musical and cinematic experimentation, satire and anger, fashion and philosophy.
Orson Welles’s Mr. Arkadin (a.k.a. Confidential Report) tells the story of an elusive billionaire who hires an American smuggler to investigate his past, leading to a dizzying descent into a cold-war European landscape.
Brigitte Bardot stars as Juliette, an 18-year-old orphan whose unbridled appetite for pleasure shakes up all of St. Tropez; her sweet but naïve husband Michel (Jean-Louis Trintignant) endures beatings, insults, and mambo in his attempts to tame her wild ways.
Originally made for German television, this recently rediscovered, three-and-a-half-hour labyrinth is a satiric and surreal look at the world of tomorrow from one of cinema’s kinkiest geniuses.
Four unnamed people who look and sound a lot like Albert Einstein, Marilyn Monroe, Joe DiMaggio, and Joseph McCarthy converge in one New York City hotel room for this compelling, visually inventive adaptation of Terry Johnson’s play, from director Nicolas Roeg.