Of the hallowed group of Cahiers du cinéma critics turned filmmakers who transformed French film history, Claude Chabrol was the first to direct his own feature. His absorbing landmark debut, Le beau Serge, follows a successful yet sickly young man (Jean‑Claude Brialy) who returns home to the small village where he grew up. There, he finds himself at odds with his former close friend (Gérard Blain)—now unhappily married and a wretched alcoholic—and the provincial life he represents. The remarkable and stark Le beau Serge heralded the arrival of a cinematic titan who would go on to craft provocative, entertaining films for five more decades.
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.