The man is Zinédine Zidane, one of the great soccer players of all time. With Zidane: 21st Century Portrait, Douglas Gordon and Philippe Parreno tread the border between film and art to cast a monument to Zidane from moving images.
Le Doulos begins with a statement central to the unyielding world of noir ethics, One must choose. Die or lie. Director Jean-Pierre Melville immerses us in the action from the get-go and, as is his style, explains nothing.
What does legendary singer Edith Piaf have in common with a secretive guy who murders innocent strangers for thrills? Both are hostages to their own dark sides, according to two films that use addiction as a shorthand way to pose a fundamental question: is it possible to become a better person? Can any of us really change who we are?
Nancy Drew has always been better in concept than reality. Young girls read into her all sorts of characteristics she only winks at having: sage wisdom beyond her years, an even temper when harassed, a smart mind and a faultless tongue, and above all, overwhelming freedom and independence.
With opening credits that channel-surf from popular icon Roland the Rat and deteriorate to another British MuppetMargaret Thatcher amid the Falklands WarThis is England leaves little doubt that its going to be a bumpy ride in the United Kingdom of the eighties.
Woman Is the Future of Man begins with a reunion between two guy friends, the joy of which lasts for about ten seconds before the onerous complexities of their past relationship start weighing them down. Next thing they’re drunk at a noodle bar, barely restraining their contempt for the other’s lifestyle.
It appears that theres been a resurgence of interest in the horror film, with even the citys newspaper of record profiling the surge. A number of upstart filmmakers are using the genre as an entry to the marketplace, in the same way that compelling directors utilized exploitation genres in the past.