In 1959, Yasujiro Ozu remade his 1934 silent classic _A Story of Floating Weeds_ in color with the celebrated cinematographer Kazuo Miyagawa (_Rashomon, Ugetsu_). Setting his later version in a seaside location, Ozu otherwise preserves the details of his elegantly simple plot wherein an aging actor returns to a small town with his troupe and reunites with his former lover and illegitimate son, a scenario that enrages his current mistress and results in heartbreak for all. Together, the films offer a unique glimpse into the evolution of one of cinema's greatest directors. _A Story of Floating Weeds_ reveals Ozu in the midst of developing his mode of expression; _Floating Weeds_ reveals his distinct style at its pinnacle. In each, the director captures the joy and sadness in everyday life.
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.
Four charming comedies from Eric Rohmer.
“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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