Yasujiro Ozu’s first talkie, the uncommonly poignant The Only Son is among the Japanese director’s greatest works. In its simple story about a good-natured mother who gives up everything to ensure her son’s education and future, Ozu touches on universal themes of sacrifice, family, love, and disappointment. Spanning many years, The Only Son is a family portrait in miniature, shot and edited with its maker’s customary exquisite control.
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.