Banned in Singapore, Ozon’s early satirical if uneven black comedy asks of us to reimagine the limits of morality as a middle-class family ‘rebalances’ itself through debauchery, sadomasochism and incest.
A German woman temporarily moves from Berlin to Marseille in this enigmatic work by a unique filmmaker largely in tune with the unfathomable ennui of her characters.
Even a master filmmaker can misfire big time in this shallow and messy star-studded stab at telling the narrative of the infamous ‘Cuban Five’.
Resnais blurs the lines between theatre and cinema in this mature treatise on the ‘love triangle’, marked by a trio of outstanding performances.
Resnais’ tonally-jarring ‘musical-drama’ that intercuts across three timelines feels too artificially-constructed and incoherent to make any meaningful sense.
An unexpected critical success, Resnais’ sly, mosaic-like film about behavioural psychology as explored through the personal stories of a trio of interconnecting characters is a masterclass in associative editing, and one of his finest pictures.
Electrifying filmmaking at times, this Cannes Camera d’Or-winning feature debut depicts a rebellious minority female teen from a French suburb who is suffering from social disenfranchisement as she seeks to make a better life for herself.
Straub and Huillet take ancient Sophocles’ famous Greek tragedy, as interpreted by Brecht, and give it an austere ‘filmed theatre’ treatment that is minimalist, esoteric and occasionally forceful.
A late career triumph by Billy Wilder that works effectively as a spiritual sequel to his legendary ‘Sunset Boulevard’, as he looked back at the glamour of Hollywood with sad ‘European’ eyes.
Tati’s international breakthrough is his most optimistic film in what is a purely-conceived characterisation of the inimitable Mr. Hulot.
