Two sisters—the sickly, intellectual Ester (Ingrid Thulin) and the sensual, pragmatic Anna (Gunnel Lindblom)—travel by train with Anna’s young son Johan (Jorgen Lindstrom) to a foreign country seemingly on the brink of war. Attempting to cope with their alien surroundings, the sisters resort to their personal vices while vying for Johan’s affection, and in so doing sabotage any hope for a future together. Regarded as one of the most sexually provocative films of its day, Ingmar Bergman’s The Silence offers a brilliant, disturbing vision of emotional isolation in a suffocating spiritual void.
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.