Jealousy and violence take center stage in this claustrophobic melodrama, a tautly constructed character study set in the slums of Manila. Lino Brocka crafts an eviscerating portrait of an innocent daughter and her bitter mother as women scorned. Insiang leads a quiet life dominated by household duties, but after she is raped by her mother’s lover and abandoned by the young man who claims to care for her, she exacts vicious revenge. A savage commentary on the degradations of urban poverty, especially for women, Insiang was the first Philippine film ever to play at Cannes.
Insiang was restored by the Cineteca di Bologna/ L’Immagine Ritrovata. Restoration funded by The Film Foundation’s World Cinema Project and the Film Development Council of the Philippines.
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.