Double Lover
The impeccable cinematography in François Ozon’s new mind game belongs in 2018, but its soul harks back to the psycho-gonzo oeuvre of Hitchcock, Bergman, and Gaslight.
The impeccable cinematography in François Ozon’s new mind game belongs in 2018, but its soul harks back to the psycho-gonzo oeuvre of Hitchcock, Bergman, and Gaslight.
One film focuses on gay Syrians desperate for personal freedom abroad and another on refugees trapped and exploited in a Lebanon camp.
Two men’s ill-tempered argument over a broken drainpipe leads to a hurled curse, a savage punch, a vendetta, and a courtroom showdown.
Part 19th-century family drama, part frontier epic, and all spellbindingly atmospheric.
The biopic of Gloria Grahame could not ask for better performances from its stars.
The biopic of jazz guitarist Django Reinhardt is given a stifling, low-energy treatment.
Two restless, intractable talents dominate European biopics of female stars, little known to the American public.
The black-and-white film follows the contortions that ensue when Hungarian villagers get wind that the Jewish neighbors they betrayed during the war are headed back to town.
Beware of comrade teacher, though she looks harmless enough with her kewpie-doll perm and brown button eyes. But there’s no confidence she won’t betray, no boundary she’ll respect.