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Apr 29, 2002 — Though set in wartime Soviet Union, Grigori Chukhrai’s drama walks away from the genre of war film, creating a portrait of life and problems behind the lines of battle.

Mar 11, 2002 — This compendium of visual delights displays director Federico Fellini’s team of performers, writers, and designers at full and exhilarating stretch.

Mar 4, 2002 — Wong Kar-wai’s biggest commercial success to date elevated him to the mainstream of international art house cinema, and it echoes the end of an era with pure melancholic power.

Feb 14, 2002 — Robert Bresson’s second feature is fixed in history as one of the movies that heralded an austere, modernistic way of seeing and feeling.

Feb 11, 2002 — The last, best, and funniest movie Milos Forman would make in his native Czechoslovakia is a deceptively simple miniature.

Feb 11, 2002 — The phenomenon of old age wherein childhood memories return with ever-increasing clarity while great stretches of the prime of life vanish into obscurity is the nub of Ingmar Bergman’s drama.

Jan 21, 2002 — A fresco conceived on a majestic scale, Marcel Carné’s masterpiece sweeps its audience back to the 1820s, painting the detail of a world obsessed with both theater and crime.

Nov 26, 2001 — Peter Weir’s first film to be released in America insists on the tangible power of spiritual life.

Nov 19, 2001 — Luis Buñuel’s drama is a seductive work that exemplifies, even as it studies, the perversity of human desire.

Oct 15, 2001 — The music in Benjamin Christensen’s classic constantly refers to something deeper, creating a sort of deep pity in preparation for the ending of the film.