In the first film of “Tales of the Four Seasons,” a burgeoning friendship between philosophy teacher Jeanne (Anne Teyssèdre) and pianist Natacha (Florence Darel) is strained by jealousy, suspicion, and intrigue. Natacha encourages Jeanne to pursue the former's father, Igor (Hugues Quester), in order to supplant Eve (Eloïse Bennett), the young girlfriend Natacha loathes. Natacha’s scheme, however, risks alienating those closest to her as well as entangling Jeanne in a romantic drama she has vowed to avoid. A Tale of Springtime demonstrates Rohmer in full command of subtle visual storytelling as he contrasts the brightness of his characters’ Parisian and suburban surroundings with their conflicting desires, ideas, and temperaments.
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.
_Daisies_ is an aesthetically and politically adventurous film that’s widely considered one of the great works of feminist cinema.
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A WOMAN IN TROUBLE
"We've met before, haven't we?”