Dor

Apr 23, 2007 — Louis Malle’s documentary work adopts certain tenets of cinéma direct—improvisation, minimal crew, the refusal to organize reality—and applies them to a consistently class-conscious, outsider perspective.

May 22, 2006 — Luis Buñuel’s merciless satire concerns the smallness of our vision of progress and our narrow attempts to achieve it through rational or moralistic planning.

Jan 17, 2005 — Jacques Becker’s crime film contains plenty of the requisite genre elements—double-crossings, violence, kidnappings, and gun battles—but it’s also a pensive meditation on age, friendship, and lost opportunities.

May 9, 2004 — With his vibrant chronicle of an Oedipal revolt, Volker Schlöndorff captures the source novel’s singular recreation of the German past.

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

Aug 19, 2002 — René Clair’s musical comedy comprises a window on a particular lost black and white neverworld—bouncy with melody, soaked in spring light, wistful about the conflicted relationship between serendipity and love.

Oct 15, 2001 — The French director’s crime film conveys both the flow and the form of the prison experience.

Apr 23, 2001 — In 1955, Jules Dassin, an American director in exile in Paris, made this flat-out perfect piece of cinema. The film came as a redemption for Dassin: a one-time promising young director cranking out B-movies under an MGM contract ("They were...

Dec 18, 2000 — Elegant humor cloaks despair in Luis Buñuel’s masterwork, wherein greedy characters flee their toxic lives and find refuge in the loneliness of dreams.

May 31, 1999 — In Abbas Kiarostami’s universe, it might be said, there are no things, only relations between things. Likewise, in his cinema: no films, only relations between films—and within them. And between them and us.Three and one. The most celebrated of Iran’s...