|The Band Wagon
|The Passion of Joan of Arc
|Carl Th. Dreyer
|Sunrise: A Song of Two Humans
|Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
|The Godfather Part II
|Francis Ford Coppola
The Band Wagon
The greatest musical stylist and the movies' most delirious colorist at his peak.
The Passion of Joan of Arc
A dream and a nightmare of spiritual ecstasy. Dreyer and his design collaborators create an amalgam of the 14th and 20th centuries, and somehow reach into the future with every stroke. Maria Falconetti's performance: incomparable, unbeatable, anguished and enough to make an atheist think things over.
Forty-five minutes from heaven. The silent screen's modernist genius and kinetic wonder in his truest inquiry into what the camera could do for him, and for us.
A duck wrestles with his maker. "Brother! What a way to run a railroad."
Inspired by Leo McCarey's heartbreaking "Make Way for Tomorrow," Ozu's post-WWII family drama remains what it has been, always: a film with a piercing gaze, directly into the camera of the soul. Emotionally, everything everywhere all at once.
Sunrise: A Song of Two Humans
A unique and artistic picture, according to the inaugural company picnic known as the Academy Awards, and a reminder that artists with freedom and fire once (and do, still, occasionally) had the keys to the ever-threatened kingdom.
Same as it ever was.
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
Pure high-wire poetry, in very tight spaces.
The waltz sublime, and cinema's most dazzling flow of imagery, with the chill of death in every transition.
The Godfather Part II
A pretty good sequel.