388. Incendies
In adapting Wajdi Mouawad’s play, Denis Villeneuve used two time lines to push the past against the present and ask if suffering is the only outcome of war.
In adapting Wajdi Mouawad’s play, Denis Villeneuve used two time lines to push the past against the present and ask if suffering is the only outcome of war.
Nostalgia originally had nothing to do with the past but rather a desire to return home. Cinema Paradiso resonates with the feeling that cinema is your home.
What if science-fiction were not a literary genre but a political and ideological theory. If so, Alex Garland uses Ex Machina to show us how he sees the world.
Joel and Ethan Coen sometimes pit their characters against forces of nature. But Llewyn Davis faces a uniquely historical storm.
In ancient Greece, all violence took place off stage. How can filmmakers show the violence of the Holocaust without exploiting the memory of the victims?
Why did Edmond Rostand base his play on a real-life historical figure, only to turn his writing talent into a tragedy?
Roman Polanski’s masterpiece is often called film noir. But lacking a dark look and a femme fatale, it’s not. It’s a very rare Hollywood breed; a true tragedy.
Few films are as layered as The Conformist. But whether you see it as an exercise in style, character study, or philosophical thesis, it’s a flat out masterpiece.
Adapted from Paolo Lin’s non-fiction novel, director Fernando Meirelles cast non-actors to capture life, death and everything in-between in Rio’s favelas.
Francis Ford Coppola’s radical adaptation of Joseph Conrad’s novella is one of the most astonishing achievements in the entire history of cinema.
One of the most original screenplays to ever emerge from Hollywood, this seriously funny comedy ponders the very meaning of our existence.
Although Wim Wenders’ picture won the Palme d’Or at the 1984 Cannes Film Festival, a lot of American critics thought little of it. Has time proven them wrong?
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