With its droll humor and bittersweet emotional heft, the feature debut of writer-director Greg Mottola announced the arrival of an unassumingly sharp-witted new talent on the 1990s indie film scene. When she discovers a love letter written to her husband (Stanley Tucci) by an unknown paramour, the distraught Eliza (Hope Davis) turns to her tight-knit Long Island family for advice. Soon the entire clan—strong-willed mom (Anne Meara), taciturn dad (Pat McNamara), and jaded sister (Parker Posey) with pretentious boyfriend (Liev Schreiber) in tow—has squeezed into a station wagon and headed into Manhattan to find out the truth, kicking off a one-crazy-day odyssey full of unexpected detours and life-changing revelations. Performed with deadpan virtuosity by a top-flight ensemble cast, The Daytrippers is a wry and piercing look at family bonds stretched to the breaking point.
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.