Produced as part of what I believe is a series of films for television on rural French life, Raymond Depardon's La Vie moderne (Modern Life) seems very fresh to these American eyes—a film that takes an
Above: Farrel (Juan Fernandez) disembarks to visit his family in the mountains. "Anywhere but here" is the common phrase, but Liverpool's variation seems to be "anywhere but anywhere." Lisandro Alonso
A style in flux can produce the most interesting, though not necessarily the most complete work. Jia Zhangke's recent documentary forays—Dong and Useless—seemed to point towards the versatile, contemplative
As Bright Future suggested before, Kurosawa Kiyoshi's sensibility can tap personal discord as easily as it usually tapped a horror-like, apocalyptic atmosphere in his genre movies; and now Tokyo Sonata
The idea seems simple enough—animate that which you cannot film. And indeed, since a film made after the fact—the fact of Waltz with Bashir being the 1982 war between Israel and Lebanon, and a massacre
In Le Gai savoir, Jean-Luc Godard begins to integrate his formal concerns with his political ones, taking up the role of teacher and building a case for the historical necessity of revolution. Le Gai savoir
Above: Denis Levant is "Merde" in Leos Carax's segment of the city omnibus film, Tokyo. Tucked in the middle of the surprisingly inspired omnibus Tokyo! is the first masterpiece of Cannes, Leos Carax
Above: Anamaria Marinca (left) and Dragos Bucur (right) play a married couple in Boogie. I certainly haven't seen enough recent Romanian films to pass judgment or even commentary on the so-called New
With 4 Nights with Anna the first question that comes to mind is: "Jerzy Skolimowski's first movie in almost twenty years is this?" But that question is immediately followed by the more pertinent follow
Above: Charles Berling (far left) and Juliet Binoche (center) are siblings in Olivier Assayas' Summer Hours. Far be it from me to call this coverage of the Cannes Film Festival. I saw Olivier Assayas
So much discourse sees Jean-Luc Godard's Week End (1967) as the end of something the director started eight years earlier with Breathless, and the film's final title "End of Film/End of Cinema" probably