Country

Nov 15, 2011 — Jean Renoir’s masterpiece is a dazzling accomplishment, original in form and style, a comic tragedy, absurd and profound, graced by two of the most brilliant scenes ever created.

Nov 15, 2011 — “The day I can buy toilet paper in a Polish store, I’ll discuss politics,” Krzysztof Kieślowski told an interviewer in 1989, as he brushed aside a question. He was speaking at the Montreal Film Festival, where he was serving on...

Nov 14, 2011 — In 1989, the Communist rule that had dominated Eastern Europe since the end of the Second World War collapsed with astonishing rapidity. If the long-term political, economic, and ideological consequences of Europe’s reunification are still unfolding, there was an immediate...

Oct 24, 2011 — “For a long time I stayed away from the Acropolis,” says the narrator of Don DeLillo’s novel The Names. “It daunted me, that somber rock. I preferred to wander in the modern city, imperfect, blaring. The weight and moment of...

Oct 18, 2011 — Hair, There, and Everywhere Are the Leningrad Cowboys for real? With pointy pompadours reaching to impossible heights above their expressionless faces and needlelike winklepicker shoes that could have been torn from the feet of oversize elves, they might be a...

This trio of siblings—Alexander, Zoltán, and Vincent—made many classic-Hollywood and British films that were unique for their epic storylines, lavish production design, and globe-trotting adventures.

Oct 4, 2011 — Pier Paolo Pasolini’s work demonstrates an aversion for the present while simultaneously suggesting the impossibility of escaping it, and thus the need to confront it.

Oct 4, 2011 — No film better illustrates Pier Paolo Pasolini’s challenge to conventional representations, to the social and cultural consensus, than his 1976 masterwork.

Oct 4, 2011 — Masaki Kobayashi rejects the notion of individual submission to the group, condemning the hierarchical structures that pervaded Japanese political and social life in the 1950s and 1960s.

Sep 19, 2011 — Jean-Luc Godard, lover of paradox, once characterized Claude Chabrol’s Les cousins (1959) as “a deeply hollow and therefore profound film,” a pronouncement, like so many of the pithy mots Godard used to reel off in the pages of Cahiers du...