This bittersweet film from Jean Renoir, based on a story by Guy de Maupassant, is a tenderly comic idyll about a city family’s picnic in the French countryside and the romancing of the mother and grown daughter by two local men. Conceived as a short feature, the project had nearly finished production in 1936 when Renoir was called away for The Lower Depths. Shooting was abandoned then, but the film was completed with the existing footage by Renoir’s team and released in its current form in 1946, after the director had already moved on to Hollywood. The result is a warmly humanist vignette that ranks among Renoir’s most lyrical works, with a love for nature imbuing its every beautiful frame.
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.