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At once a rousing paean to artistic creation, a delicate evocation of divine grace, and the ultimate film about food, the Oscar-winning Babette’s Feast is a deeply beloved treasure of cinema.
Dissatisfied in marriage and life, Ferdinand (Jean-Paul Belmondo) takes to the road with the babysitter, his ex-lover Marianne Renoir (Anna Karina), and leaves the bourgeoisie behind in Pierrot le fou, one of the high points of the French New Wave.
Sunday Bloody Sunday depicts the romantic lives of two Londoners, a middle-aged doctor and a prickly thirtysomething divorcée—played with great sensitivity by Peter Finch and Glenda Jackson—who are sleeping with the same handsome young artist.
In the hands of the renowned experimental theater director Peter Brook, William Golding’s legendary novel about the primitivism lurking beneath civilization becomes a film as raw and ragged as the lost boys at its center.
Charlie Chaplin plays shockingly against type in his most controversial film, a brilliant and bleak black comedy about money, marriage, and murder.
Albert Lamorisse’s exquisite The Red Balloon remains one of the most beloved children’s films of all time. In this deceptively simple, nearly wordless tale, a young boy discovers a stray balloon, which seems to have a mind of its own, on the streets of Paris.
In the early 1970s, the great Italian poet, philosopher, and filmmaker Pier Paolo Pasolini brought to the screen a trio of masterpieces of medieval literature.
In Pietro Germi’s hilarious and cutting satire of Sicilian male-chauvinist culture, Baron Ferdinando Cefalù (Marcello Mastroianni) longs to marry his nubile young cousin Angela (Stefania Sandrelli), but one obstacle stands in his way: his fatuous and fawning wife, Rosalia (Daniela Rocca).
Spare and unsentimental but deeply imbued with a heart-rending tenderness, The Kid with a Bike is an arresting work from the great Belgian directors Jean-Pierre and Luc Dardenne, masters of the empathetic action film.
The Last Days of Disco, from director Whit Stillman, is a cleverly comic look at the early 1980s Manhattan party scene from the vantage point of the late nineties.
The legendary Gilbert and Sullivan troupe the D’Oyly Carte Opera Company joined forces with Hollywood for this 1939 Technicolor version of the beloved comic opera The Mikado, the first work by the famed duo to be adapted for the screen.
In this jazzy gangster film, reformed killer Tetsu’s attempt to go straight is thwarted when his former cohorts call him back to Tokyo to help battle a rival gang.
In this comedic thriller, a trio of crooks relentlessly pursue a young American, played by Audrey Hepburn in gorgeous Givenchy, through Paris in an attempt to recover the fortune her dead husband stole from them.
Bernardo Bertolucci’s The Last Emperor, about the life of Emperor Pu Yi, who took the throne at age three, in 1908, before witnessing decades of cultural and political upheaval, won nine Academy Awards, unexpectedly sweeping every category in which it was nominated.
A frank exploration of voyeurism and violence, Michael Powell’s extraordinary film is the story of a psychopathic cameraman—his childhood traumas, sexual crises, and murderous revenge as an adult.
A young man embarks on an obsessive search for the girlfriend who mysteriously disappeared while the couple were taking a sunny vacation trip, and his three-year investigation draws the attention of her abductor, a mild-mannered professor with a clinically diabolical mind.
Before he became a sensation with the twisty revenge story Memento, Christopher Nolan fashioned this low-budget, 16 mm black-and-white neonoir with comparable precision and cunning.