Slow cinema as an anti-police procedural, Dumont’s fascinating if unclassifiable work features a hypnotic Emmanuel Schotte (in his only film role), whose face must be one of the most arresting in all of cinema.
The story-within-a-story treatise might feel undercooked but Welles still does a lot within its short runtime, particularly creating the film’s dreamy, intoxicating atmosphere, accompanied by the ethereal music of Erik Satie.
A brilliant Isabelle Huppert headlines Chabrol’s true-story WWII drama about French women who had to deal with illegal abortion and prostitution, while bearing the brunt of legal and moral injustices.
Joan of Arc’s childhood is given a treatment that only Dumont could dream up—a period musical backed by heavy metal/rock music that is as madly fervent as it is wearisome.
Too overly-plotted, Petzold’s attempt at revising Casablanca for the modern age—and in his own oblique style and sensibility—doesn’t come out as deeply compelling as his best works.
Under Cocteau’s inventive sleight-of-hand, this early postwar work may be the most magical and poetic adaptation of the beloved fairy tale ever filmed.
Small-time scammers bite off more than they can chew in Chabrol’s rather uneven but perversely fun crime comedy, headlined by Isabelle Huppert and the scene-stealing Michel Serrault.
Two actresses share a minimalist stage as they perform the written correspondences from the late American poet-writer Sylvia Plath to her mother in this wholly intimate endeavour from Akerman.
Denis’ semi-autobiographical feature debut sees her reflect on the distant colonialist memory of being a white girl living in Cameroon, in a filmmaking style that is unmistakably hers—sensual, tactile and poetic.
Another good but not great murder mystery from Chabrol featuring the second outing of his snarky detective in a tale about immoralities.
Eternality Tan 