This existential wail of a drama from Ingmar Bergman concerns two sisters, Karin (Ingrid Thulin) and Maria (Liv Ullmann), keeping vigil for a third, Agnes (Harriet Andersson), who is dying of cancer and can find solace only in the arms of a beatific servant (Kari Sylwan). An intensely felt film that is one of Bergman’s most striking formal experiments, Cries and Whispers (which won an Oscar for the extraordinary color photography of Sven Nykvist) is a powerful depiction of human behavior in the face of death, positioned on the borders between reality and nightmare, tranquillity and terror.
With his lush and sensual visuals, pitch-perfect soundtracks, and soulful romanticism, Wong Kar Wai has established himself as one of the defining auteurs of contemporary cinema.
“No one sees anything. Ever. They watch, but they don’t understand.” So observes Connie Nielsen in Olivier Assayas’s hallucinatory, globe-spanning Demonlover, a postmodern neonoir thriller and media critique in which nothing—not even the film itself—is what it appears to be.
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An intoxicating, time-bending experience bathed in the golden glow of oil lamps and wreathed in an opium haze, Hou Hsiao-hsien’s gorgeous period reverie traces the romantic intrigue, jealousies, and tensions swirling around a late 19th century Shanghai brothel, where the courtesans live confined to a gilded cage, ensconced in opulent splendor yet forced to work to buy back their freedom.