Dead or Alive Final
Freely referencing everything from anime to Huxley's Brave New World,
from Blade Runner to Jean Luc Godard, director Takashi Miike (Audition,
Ichi the Killer) crafts a spectacular conclusion to his wildly successful
series.
Robot Stories
Though hailed as "a great science fiction movie" (New York Press), Robot
Stories is light-years ahead of most contemporary sci-fi pictures. By
investing Robot Stories with "a dexterous sense of wonder" (The New York
Times) and substituting imagination and compassion for a blockbuster budget,
"uncannily assured visual storyteller" (The Village Voice) Greg Pak has
created a film that's a genuinely stirring indie rarity" (Voice).
Fallen Angels
Acknowledged throughout the world as one of the most important directors
working today, Wong Kar-Wai (Happy Together, Ashes Of Time) has developed
a signature style that employs bold, experimental use of photography,
music, and editing to capture the tension of the approaching millennium.
Originally intended to be a third story in his now classic Chungking Express,
Fallen Angels has emerged as what some critics have come to consider his
"quintessential work."
A Talking Picture
Effortlessly gliding from graceful travelogue to playful star-driven caprice
to trenchant cautionary fable, A Talking Picture is "a majestic and profound
work by one of the greatest of all living filmmakers" (Chicago Tribune).
Writer-director Manoel de Oliveira (I’m Going Home, Voyage to the Beginning
of the World) has created a valedictory cinematic masterpiece that balances
timeless beauty with audacious theatricality in order to explore the fanciful
myths and grim ironies that define Western Civilization at a millennial
crossroads.
L'AGE D'OR
Poetic, absurd, erotic, visionary and scandalous, L'AGE D'OR can still
"provoke, baffle and delight" (New York Times) more than seventy years
after its creation. "Contriving effronteries so offhanded you can't believe
you've actually seen them' (Village Voice), L'AGE D'OR showcases the incomparably
obsessive cinematic imagination of Luis Buñuel at its beginning and the
celebrated surrealism of Salvador Dali at its peak.
Let Joy Reign Supreme
Bertrand Tavernier's (LIFE AND NOTHING BUT) LET JOY REIGN SUPREME, is
a "rich, ambitious" (Newsweek), extraordinarily detailed and character-dense
look at French monarchy, diplomacy and debauchery on the threshold of
bloody insurrection. Tavernier's favorite leading man Philippe Noiret
(LIFE AND NOTHING BUT, CINEMA PARADISO) plays the infamous Philippe d'Orleans,
uncrowned king of a nation divided by appalling poverty and riddled with
greed and conspiracy.
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