Two school boys, one a son of a privileged French family, the other a Jew with an assumed name, accidentally separate themselves from their schoolmates in the woods during a spirited game of capture the flag. Julien Quentin experiences the rush of fear as he Read More …
The delicate balance between ministry and madness—explored in other Top 100 films such as Ordet and The Apostle—takes a real life turn in Frisbee: The Life and Death of a Hippie Preacher, an informative and revealing documentary that explores the life of a struggling evangelist trying to follow and Read More …
Andrei Tarkovsky’s paints The Sacrifice with Ingmar Bergman’s palette. The location, language, actors, and themes are familiar enough to those familiar with Bergman’s work, but something is askew, the way a dream might blend Shame (1968) and The “Faith Trilogy” into a baroque stage play about an ethereal Cold Read More …
It’s amusing to consider that at the same time members of the French New Wave such as Godard and Truffaut were noisily clamoring for a cinematic revolution, a fellow countryman and former mime was thumbing his nose at modernity through an almost wordless screen persona. Monsieur Read More …
At first glance, Robert Bresson seems like an incompetent director. In Pickpocket, his actors move stiffly, reciting their lines with hardly any emotion; he skips over what seem like important dramatic moments and lingers on seemingly trivial ones; background music is rarely used, and it shows Read More …
In the follow-up to their first fiction feature, La Promesse (#44 on the 2010 Arts & Faith Top 100), Belgian filmmakers Jean-Pierre and Luc Dardenne wrote and directed Rosetta. The film—lean on plot but heavy on character and form—follows a few days in the life Read More …
Early in Rome, Open City, a boy tells his priest, Don Pietro, that he doesn’t have time for catechism because of the war. Roberto Rossellini, Rome’s director, essentially spends the rest of the movie countering that assertion. Rome, Open City is set during the nine-month Nazi occupation Read More …
“In the end, we spend our lives alone.” One cannot help but wonder if the two characters who voice this sentiment during the course of Ozu’s An Autumn Afternoon serve as mouthpieces for the director himself. Partway through the writing of this film’s script, Ozu’s mother died; Read More …
The 1970s marked a major turning point for the life and work of Japanese director Akira Kurosawa, as the guardedly hopeful portrayals of individual and communal transformation seen in many of his postwar films culminated in his final black-and-white movie, Red Beard (1965). His next four films, Read More …
Lorna skirts the margins of Belgian society, an Albanian immigrant whose sham marriage with a two-bit junkie, a narkoman, serves only to gain her legal residency in the country. Working for a local gangster, she’s already got her next fake marriage lined up which will Read More …