This widely acclaimed film from Soviet director Elem Klimov is a stunning, senses-shattering plunge into the dehumanizing horrors of war. As Nazi forces encroach on his small village in present-day Belarus, teenage Flyora (Aleksei Kravchenko, in one of the screen’s most searing depictions of anguish since Renée Falconetti’s Joan of Arc) eagerly joins the Soviet resistance. Rather than the adventure and glory he envisioned, what he finds is a waking nightmare of unimaginable carnage and cruelty—rendered with a feverish, otherworldly intensity by Klimov’s subjective camerawork and expressionistic sound design. Nearly suppressed by Soviet censors who took eight years to approve its script, Come and See is perhaps the most visceral, impossible-to-forget antiwar film ever made.
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.