Montage

Jun 27, 2005 — Kô Nakahira’s taboo-busting melodrama heralded a reinvention of Japanese cinema.

Jun 21, 2004 — Nouvelle vague euphoria was at its height when Jean-Luc Godard made his enormously clever third feature.

May 24, 2004 — Stray Dog, the ninth film directed by Akira Kurosawa, is a detective story that’s also meant to function as a commentary on the desperate social conditions of postwar Japan: a kind of neorealist cop movie.

Oct 27, 2003 — Attuned to the ineffable weirdness and crushing mundanity of workplace paranoia, Steven Soderbergh’s film finds anger and sorrow in the way we brutalize our means of communication

Jun 23, 2003 — Alain Resnais’s antidocumentary never purports to “document” the heinous realities of the Holocaust; instead, it interrogates our responses.

Jun 9, 2003 — In Stan Brakhage’s films we enter into momentary perceptual transactions in which we trade unhindered assimilation of images for intensified contact with pictorial or sensory features that might otherwise go unnoticed.

May 26, 2003 — Embracing the world while pretending to sneer at it, Henri-Georges Clouzot’s crime film is rich, deep, and wily.

Jan 6, 2003 — Ernst Lubitsch set the screwball comedy standard, treating hard-on material with dignified aplomb and a combination of suaveness, hilarity, and sexiness.

Sep 23, 2002 — In 1940 and 1941, David O. Selznick won back-to-back Academy Awards for Best Picture. In 1942, unsurprisingly, he was depressed. His wife, Irene, persuaded him to seek help, and, less than one year later, hale and hardy, he was eager...

Jun 18, 2001 — Pent-up, unfulfilled sexuality spills onto the screen in Douglas Sirk’s sumptuous melodrama.