More has been written about Leni Riefenstahl’s OLYMPIA than about any other sports documentary in history. Starting with a long and lyrical overture—evoking the origins of the Olympic Games in ancient Greece—Riefenstahl covers twenty-one athletic events in FESTIVAL OF THE NATIONS, culminating with the marathon. Despite the film's fascist origins, OLYMPIA has achieved a certain respectability and endures as a monument of cinema— and of a malevolent ideology.
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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