Jean Vigo’s legendary last film is about a barge captain (Jean Dasté) and his new bride (Dita Parlo), who begin their turbulent marriage aboard his riverboat accompanied by an eccentric first mate (Michel Simon).
Roger Duchesne is a thief with a code of honor who envisions and executes a perfect plan to rob the casino in Deauville in this crime classic that marks the real beginning of what we have now come to think of as Melville’s world.
Cape Verde’s colonial histories and displaced emigrants have been central to many of Pedro Costa’s films, but his rarely seen second feature is the only one thus far to have been shot on the archipelago.
Often overlooked, Hou Hsiao-hsien’s fascinating portrayal of the anomie felt by Taiwanese youth of the mid-1980s came between the period pieces that established the director on his home ground and around the world.
On a French network TV commission, Godard created this Série noire anthology episode, a funny, melancholy video piece about a director (Jean-Pierre Léaud) and producer (Jean-Pierre Mocky) trying to make a movie out of James Hadley Chase’s 1964 novel The Soft Centre.
Two madly impulsive young men are in love with the same woman, who happens to be played by two different actresses, in this semi-slapstick vision of true love inspired as much by Hollywood comedies and romances of the silent era as by the French New Wave.
A key work of Cuban cinema, the first feature from director Humberto Solás is a trio of stories about women named Lucía, each in a different register; a vivid visual experience, shot in glorious black and white.
James Whale gave a comic spin to J. B. Priestley’s 1927 gothic novel Benighted, cast from the mold of Edgar Allan Poe’s “The Fall of the House of Usher,” in this horror classic, bringing the film closer in spirit to the director’s later Bride of Frankenstein.
Varda’s feminist musical—with lyrics by the director—concerns the bond of sisterhood felt by Pomme (Valérie Mairesse) and Suzanne (Thérèse Liotard) throughout years of changes and fraught relationships with men.
This astonishingly beautiful black-and-white silent film was shot in the Black Forest of Germany with a cast of three (Bernadette Lafont, Laurent Terzieff, and Stanislas Robiolle), and is a primal response to the events of May ’68 as they were still unfolding.
Tarkovsky’s final film, The Sacrifice was made under the sign of one of the director’s masters, Ingmar Bergman: shot in Swedish with several of Bergman’s principal actors, including Erland Josephson, and his DP Sven Nykvist, it is, most certainly, a final testament.
The story of a family’s quiet endurance as it is split up and its members are sold into slavery and prostitution in 11th-century Japan is one of the greatest of Kenji Mizoguchi’s films and one of the greatest works of the cinema.
Mizoguchi’s adaptation of Chikamatsu Monzaemon’s 17th-century jōruri play about an apprentice scroll-maker who runs away with his master’s young wife is, like Sansho the Bailiff and Ugetsu before them, a film of extraordinary beauty and force.