This “diary film,” as director Wim Wenders calls it, investigates the similarities of filmmaking craft to that of the Tokyo-based fashion designer Yohji Yamamoto, who, in the early 1980s, shocked and revolutionized the fashion world. Wenders shot the film mainly on his own, as a one-man crew. During the production, which stretched over a year, Yamamoto and Wenders became friends.
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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