Adapting the acclaimed novel by Ian McEwan, playwright and screenwriter Harold Pinter lends his trademark unnerving dialogue and air of creeping menace to this spellbinding study of power, control, and the frighteningly thin line between pleasure and pain. Rupert Everett and Natasha Richardson are the prey, a beautiful British couple working on their relationship while on holiday in Venice; Christopher Walken and Helen Mirren are the hunters who draw them into the sinister web of their opulent, old-world palazzo. What plays out is an unsettling, sadomasochistic seduction imbued with an atmosphere of sumptuous dread by the elegantly gliding tracking shots of cinematographer Dante Spinotti, lush score by Angelo Badalamenti, and carefully controlled direction of Paul Schrader, who choreographs a mesmerizing pas de quatre of sustained erotic and emotional tension.
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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