One of the many Cahiers du Cinema film critics to go on to direct his own films, Jacques Rivette finds inspiration in the low-budget Hollywood musicals of the 1950s for this summer tale of three heroines living in contemporary Paris. Like its predecessors, the film is infused with a sense of surprise, playfulness, and spontaneity. Rivette eschews elaborate sets and technical perfection preferring instead to explore the poetry of everyday locations and the sheer joy of movement and music. The result is an enchanting romp through Paris where particulars blur into a feeling of lasting reverie. With Laurence Cote, Nathalie Richard and Anna Karina.
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Code Unknown 2000
The best movie of the year was Michael Haneke’s Code Unknown (originally released in 2000, but not screened in Chicago until early 2002). Exploring several provocative, if not always original, ideas through loosely connected vignettes — the film is subtitled “Incomplete Tales of Several Journeys” — Code Unknown is a smart, well-realized, if often elusive work. I’ll be honest: on the surface, one may think this film is yet another European art house favorite, waxing about this or that philosophical…
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Prisoners 2013
A raw, at times over-the-top, portrayal of the lengths (and depths) one will or will not go when the unthinkable happens. While the direction and cinematography didn’t fail to keep my attention, I found the story and scene progression to be uneven and disjointed, which ultimately proved too distracting. Disappointing overall given Villeneuve’s obvious talents and achievements elsewhere.
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Family Resemblances 1996
Adapting the play by Agnes Jaoui and Jean-Pierre Bacri (who also star), Cédric Klapisch turns from his heart-warming portrait of a Paris neighborhood in transition, When The Cat’s Away, to the inner turmoil, idiosyncrasies, and emotional baggage of an upper-middle class French family. Meeting at the family-owned café one Friday night for a birthday dinner, repressed tempers soon flare and the vitriol ensues. Without relying on cheap laughs, Klapisch offers a critical yet ultimately gentle portrait of the ties that…
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Eyes Wide Shut 1999
Cruise. Kidman. Kubrick. A couple in semi-embrace. The man: lips parted, eyes closed, soft, submissive. The woman: one eye turned away toward us, slightly over her shoulder, distracted, alert. The image used to sell Stanley Kubrick’s final masterpiece is as good as any roadmap for deciphering its many ambiguities, frustrations, and lasting impressions. Adapting Arthur Schnitzler’s 1927 novella “Traumnovelle,” Kubrick traces the labyrinthine wanderings of a successful young New York doctor after discovering his wife’s adulterous fantasies. Awash in diffuse…
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