This major early achievement by Michelangelo Antonioni bears the first signs of the cinema-changing style for which he would soon be world-famous. Le amiche (The Girlfriends) is a brilliantly observed, fragmentary depiction of modern bourgeois life, conveyed from the perspective of five Turinese women. As four of the friends try to make sense of the suicide attempt of the fifth, they find themselves examining their own troubled romantic lives. With suggestions of the theme of modern alienation and the fastidious visual abstraction that would define his later masterpieces such as L’avventura, L’eclisse, and Red Desert, Antonioni’s film is a devastating take on doomed love and fraught friendship.
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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