Wim Wenders pays loving homage to rough-and-tumble Hollywood film noir with The American Friend, a loose adaptation of Patricia Highsmith’s novel Ripley’s Game. Dennis Hopper oozes quirky menace as an amoral American art dealer who entangles a terminally ill German everyman, played by Bruno Ganz, in a seedy criminal underworld as revenge for a personal slight—but when the two become embroiled in an ever-deepening murder plot, they form an unlikely bond. Filmed on location in Hamburg and Paris, with some scenes shot in grimy, late-seventies New York City, Wenders’s international breakout is a stripped-down crime story that mixes West German and American film flavors, and it features cameos by filmmakers Jean Eustache, Samuel Fuller, and Nicholas Ray.
This boldly cinematic trio of stories about love and loss, from Krzysztof Kieślowski was a defining event of the art-house boom of the 1990s. The films are named for the colors of the French flag and stand for the tenets of the French Revolution—liberty, equality, and fraternity—but that hardly begins to explain their enigmatic beauty and rich humanity. Set in Paris, Warsaw, and Geneva, and ranging from tragedy to comedy, Blue, White, and Red(Kieślowski’s final film) examine with artistic clarity a group of ambiguously interconnected people experiencing profound personal disruptions. Marked by intoxicating cinematography and stirring performances by such actors as Juliette Binoche, Julie Delpy, Irène Jacob, and Jean-Louis Trintignant, Kieślowski’s Three Colors is a benchmark of contemporary cinema.
The Hong Kong crime drama was jolted to new life with the release of the Infernal Affairs trilogy, a bracing, explosively stylish critical and commercial triumph that introduced a dazzling level of narrative and thematic complexity to the genre with its gripping saga of two rival moles.
The release of François Truffaut’s The 400 Blows in 1959 shook world cinema to its foundations.