In 1986, Louis Malle, himself a transplant to the United States, set out to investigate the ever-widening range of immigrant experience in America. Interviewing a variety of newcomers (from teachers to astronauts to doctors) in middle- and working-class communities from coast to coast, Malle paints a generous, humane portrait of their individual struggles in an increasingly polyglot nation.
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.