In the first part of the epic Samurai Trilogy, Toshiro Mifune thunders onto the screen as the iconic title character. When we meet him, Miyamoto is a wide-eyed romantic, dreaming of military glory in the civil war that is ravaging the seventeenth-century countryside. Twists of fate, however, turn him into a fugitive. But he is saved by a woman who loves him and a cunning priest who guides him to the samurai path. Though the opening installment of a series, this film, lushly photographed in color, stands on its own, and won an Academy Award for the best foreign-language film of 1955.
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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