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futurestar: “have decent version of but no extras. Also know in modern version My Own Private Idaho. Orson Welles best role as any character, robust/rousing. ”
futurestar: “Most of this is a composite of the extras contained in the Rossellini trilogy on Bergman. Plus some bonus throw in. Not a must but a luxury at most. ”
Orson Welles’s first color film and final completed fictional feature, The Immortal Story is a moving and wistful adaptation of a tale by Isak Dinesen.
This unorthodox dream western by Robert Altman may be the most radically beautiful film to come out of the New American Cinema that transformed Hollywood in the early 1970s.
With its unapologetic identification with social outcasts and its sensitive, modern approach to matters of sexuality and race, Richardson’s classic is a still startling benchmark work of realism.
At once a wuxia film, the tale of a spiritual quest, and a study in human nature, A Touch of Zen is an unparalleled work in Hu’s formidable career and an epic of the highest order.
Alain Resnais’s Muriel, or The Time of Return, the director’s follow-up to Last Year at Marienbad, is as radical a reflection on the nature of time and memory as its predecessor.
This singular vision of early seventeenth-century America from Terrence Malick is a work of astounding elemental beauty, a poetic meditation on nature, violence, love, and civilization.
Nothing else has ever looked or felt like director René Laloux’s animated marvel Fantastic Planet, a politically minded and visually inventive work of science fiction.
futurestar: “hen house of high fashioned aristrocatic ladies. social life goes downhill in Milan as one w/clue escapes to Rome. melodrama w/soap opera sub-titles. ”
Stanley Kubrick’s painfully funny take on Cold War anxiety is one of the fiercest satires of human folly ever to come out of Hollywood.
When a gifted but washed-up screenwriter with a hair-trigger temper—Humphrey Bogart, in a revelatory, vulnerable performance—becomes the prime suspect in a brutal Tinseltown murder, the only person who can supply an alibi for him is a seductive neighbor (Gloria Grahame) with her own troubled past.
A Hollywood studio executive with a shaky moral compass (Tim Robbins) finds himself caught up in a criminal situation that would be right at home in one of his movie projects, in this biting industry satire from Robert Altman.
In the middle of the 1970s, Wim Wenders embarked on a three-film journey that took him from the wide roads of Germany to the endless highways of the United States and back again.