Though rife with sexual violence and graphic dialogue, the last film to premiere at the Cannes Film Festival was also the most elegantly made in the competition: Paul Verhoeven’s blunt, button-pushing, stinging comedy.
Whit Stillman’s adaptation of Jane Austen’s Lady Susan, a posthumously published novella about a devious widow who goes husband-hunting for both herself and her daughter. It has intrigue, musings on marriage, and a fascinating female lead.
This coming-of-middle-age film gives us a hero who has nothing and plops him in the middle of the Saudi Arabian desert. It becomes a subtle examination of aging and alienation that isn’t afraid to laugh at itself.
Based on 17th-century stories by the Neapolitan writer Giambattista Basile, who inspired the Brothers Grimm, one tale ends with a sting, another ends in triumph, and the third concludes somewhere in the middle. All of them linger.
In this intensely moving movie, long, lovingly shot sequences of the titular food fits perfectly in the genre of culinary-based films in which food has metaphorical, cultural, and even spiritual significance.
Once again, the Film Society of Lincoln Center leans on the staff of its monthly magazine, Film Comment, to present this annual series, an eclectically curated group of overlooked and perhaps underappreciated films. This year proves no exception to the typical high quality of noteworthy films from around the world, many of which are making […]
As has been reported often over the past year, The Revenant was a troubled shoot, where the budget rose to great heights and crew walked off over the unendurable conditions on location in the woods of Alberta, Canada, where the temperature went down to minus 40 below. To the actors’ credit, most of all Leonardo […]