In Jacques Tati’s Trafic, the bumbling Monsieur Hulot, kitted out as always with tan raincoat, beaten brown hat, and umbrella, takes to Paris’s highways and byways. In this, his final outing, Hulot is employed as an auto company’s director of design, and accompanies his new product (a “camping car” outfitted with absurd gadgetry) to an auto show in Amsterdam. Naturally, the road there is paved with modern-age mishaps. This late-career delight is a masterful demonstration of the comic genius’s expert timing and sidesplitting knack for visual gags, and a bemused last look at technology run amok.
Shot outside of Pittsburgh at a fraction of the cost of a Hollywood feature by a band of filmmakers determined to make their mark, George A. Romero’s Night of the Living Dead is one of the great stories of independent cinema: a midnight hit turned box-office smash that became one of the most influential films of all time.
George A. Romero
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