Boy

Jul 19, 2004 — Marcel Carné's third feature is as epochal as any film made in France in the 1930s, exemplifying the style known as “poetic realism.”

Jun 21, 2004 — Indefatigably productive, ingenious, exasperating, narcissistically didactic, slyly self-promoting, abject, generous, exploitative, devoted to the wretched of the earth with honest fervor and deluded romanticism: Pier Paolo Pasolini can easily exhaust the adjective-prone, as man and artist, his person and his...

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

Mar 13, 2004 — With uncharacteristic warmth and affection for human frailty, Ingmar Bergman raises the question of how love can possibly last forever.

Jan 5, 2004 — Jacques Tati’s second tale about the whimsical wanderer Monsieur Hulot, this classic comedy presents a world in which characters are defined solely by their actions.

May 26, 2003 — Derek Jarman’s early film epitomizes the despairing and angry mood of Britain in the mid-seventies—a country facing economic recession, virtual war with the IRA, and an uncertain post-imperial future.

Apr 28, 2003 — Federico Fellini both identifies with and satirizes the provinciality that forms his romantic comedy's central subject.

Sep 9, 2002 — With her debut feature, Lynne Ramsay confirmed herself as one of the most distinct and important voices to emerge from the United Kingdom in recent years.

Aug 20, 2001 — Preston Sturges’s generous-hearted satire achieves a synthesis that is both terribly funny and deeply moving.

Aug 20, 2001 — Carl Dreyer considers the work of art’s soul in this excerpt from Dreyer in Double Reflection.