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Merchant Ivory Productions, led by director James Ivory and producer Ismail Merchant, became a household name with A Room with a View, the first of their extraordinary adaptations of E. M. Forster novels.
Director Bruce Beresford garnered international acclaim for this riveting drama set during a dark period in his country’s colonial history, and featuring passionate performances by Edward Woodward, Bryan Brown, and Jack Thompson.
A decade after he broke through with Breaker Morant, Australian director Bruce Beresford made another acclaimed film about the effects of colonialism on the individual.
Before he stunned the cinematic world with the epic The Decalogue and the Three Colors trilogy, the great Polish filmmaker Krzysztof Kieślowski made his first work of metaphysical genius, Blind Chance.
Brian De Palma ascended to the highest ranks of American suspense filmmaking with this virtuoso, explicit erotic thriller.
An astounding array of talent came together for the big-screen adaptation of John Fowles’s novel The French Lieutenant’s Woman, a postmodern masterpiece that had been considered unfilmable.
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.
Oscar winner Marion Cotillard received another nomination for her searing, deeply felt performance as a working-class woman desperate to hold on to her factory job, in this gripping film from master Belgian directors Jean-Pierre and Luc Dardenne.
This affectionate farce from François Truffaut about the joys and strife of moviemaking is one of his most beloved films.
Kirk Douglas gives the fiercest performance of his career as Chuck Tatum, an amoral newspaper reporter who washes up in dead-end Albuquerque, happens upon the scoop of a lifetime, and will do anything to keep getting the lurid headlines.
Poetic realism reached sublime heights with Children of Paradise, widely considered one of the greatest French films of all time.
This comic masterpiece by Preston Sturges is among the finest Hollywood satires and a high-water mark in the career of one of the industry’s most revered funnymen.
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.
Based on the novel by Rumer Godden, the film eloquently contrasts the growing pains of three young women with the immutability of the Bengal river around which their daily lives unfold.
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.
In one of the best performances of his legendary career, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle.
A work of meticulous journalism and gripping drama, it recounts the disturbing tale of Randall Dale Adams, a drifter who was charged with the murder of a Dallas police officer and sent to death row, despite evidence that he did not commit the crime.
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.
With its relentless pace, expressive cinematography by the great Russell Metty, and punchy, clever script by Charles Lederer and Ben Hecht, this is an overlooked treasure from the heyday of 1940s film noir.
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.
This landmark film, which documents the journeys of two remarkable families, continues to educate and inspire viewers, and it is widely considered one of the great works of American nonfiction cinema.
An intensely felt film that is one of Bergman’s most striking formal experiments, Cries and Whispers (which won an Oscar for the extraordinary color photography of Sven Nykvist) is a powerful depiction of human behavior in the face of death.
The success of Erik Skjoldbjærg’s chilling procedural anticipated the international hunger for Scandinavian noirs and serial- killer fictions, and the film features one of Skarsgård’s greatest performances.
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.
With a radical take on narrative, disturbing yet beautiful cinematography, and a highly sophisticated use of on- and offscreen sound, Martel turns her tale of a decaying bourgeois family, whiling away the hours of one sweaty, sticky summer, into a cinematic marvel.
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 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.
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.
Tatsuya Nakadai and Toshiro Mifune star in the story of a wandering samurai who exists in a maelstrom of violence. A gifted swordsman plying his craft during the turbulent final days of shogunate rule in Japan, Ryunosuke (Nakadai) kills without remorse or mercy.
This revelatory drama was named the best film of the 1990s in a Village Voice poll of more than fifty critics.
In this unsettling drama from Italian filmmaker Liliana Cavani, a concentration camp survivor (Charlotte Rampling) discovers her former torturer and lover (Dirk Bogarde) working as a porter at a hotel in postwar Vienna.
In this fantastic voyage through time and space from Terry Gilliam, a boy named Kevin (Craig Warnock) escapes his gadget-obsessed parents to join a band of time-traveling dwarfs.
Federico Fellini’s career achieved new levels of eccentricity and brilliance with this remarkable, controversial, extremely loose adaptation of Petronius’s classical Roman satire, written during the reign of Nero.
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.
The last film by Yasujiro Ozu was also his final masterpiece, a gently heartbreaking story about a man’s dignifed resignation to life’s shifting currents and society’s modernization.
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.
After a decade in the wilds of avant-garde and early video experimentation, Jean-Luc Godard returned to commercial cinema with this star-driven work of social commentary, while remaining defiantly intellectual and formally cutting-edge.
Seemingly off-the-cuff yet poetically constructed, these films are humane, sometimes wry, always engaging tributes to music, food, and all sorts of regionally specific delights.
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.
Michelangelo Antonioni invented a new film grammar with this masterwork.
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.
In the midsixties, the maverick American director Monte Hellman conceived of two westerns at the same time. Dreamlike and gritty by turns, these films would prove their maker’s adeptness at brilliantly deconstructing genre.
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.
Trickery. Deceit. Magic. In F for Fake, a free-form sort-of documentary by Orson Welles, the legendary filmmaker (and self-described charlatan) gleefully reengages with the central preoccupation of his career: the tenuous lines between illusion and truth, art and lies.
John Ford takes on the legend of the O.K. Corral shoot-out in this multilayered, exceptionally well-constructed western, one of the director’s very best films.
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.
A profoundly felt film about class and conformity in small-town America, All That Heaven Allows is a pinnacle of expressionistic Hollywood melodrama.
Combining stylish sixties modernism with silent-cinema touches and even a few unexpected sci-fi accents, Judex is a delightful bit of pulp fiction and a testament to the art of illusion.
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.
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.
A cornerstone of the career of this most economical and profoundly spiritual of filmmakers, Pickpocket is an elegantly crafted, tautly choreographed study of humanity in all its mischief and grace, the work of a director at the height of his powers.
This sensual and striking chronicle of a disappearance and its aftermath put director Peter Weir on the map and helped usher in a new era of Australian cinema.
A psychologically damaged war veteran and a neglected child begin a startlingly intimate friendship—one that ultimately ignites the suspicion and anger of his friends and neighbors in suburban Paris.
David Lynch’s 1977 debut feature, Eraserhead, is both a lasting cult sensation and a work of extraordinary craft and beauty.
The wildly prolific German filmmaker Rainer Werner Fassbinder paid homage to his cinematic hero Douglas Sirk with this update of that filmmaker’s 1955 All That Heaven Allows.
The electric filmmaking genius John Cassavetes and his brilliant wife and collaborator Gena Rowlands give luminous, fragile performances as two closely bound, emotionally wounded souls who reunite after years apart.
French director Jacques Demy didn’t just make movies—he created an entire cinematic world. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema.
Assembled with visionary editing that makes dance come alive on-screen as never before, and overflowing with sublime footwork, All That Jazz pushes the musical genre to personal depths and virtuosic aesthetic heights.
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.