Jacques Demy's 1964 masterpiece is a pop-art opera, or, to borrow the director's own description, a film in song. This simple romantic tragedy begins in 1957. Guy Foucher (Nino Castelnuovo), a 20-year-old French auto mechanic, has fallen in love with 17-year-old Geneviève Emery (a luminous Catherine Deneuve), an employee in her widowed mother's chic but financially embattled umbrella shop.
When originally released, Jacques Demy's The Young Girls of Rochefort suffered in comparison with his earlier The Umbrellas of Cherbourg, but its reputation has grown in the intervening years. Although not without flaws, Rochefort is a tremendously appealing and utterly engaging musical trifle. Breezy and light, Rochefort is also gorgeous and a delight to the eye; Demy's sense and use of color is practically overwhelming, and is as important to the success of the film as any other element.
A cinematic time capsule that distills the very essence of the swinging London of 1966, filmmaker Michelangelo Antonioni's provocative art house hit remains a brilliant psychological thriller. David Hemmings portrays a British fashion photographer whose voyeuristic tendencies compel him to take pictures of a couple he sees embracing in the park.
A film as much about the nature of relationships as the world of television journalism, Broadcast News was one of the most timely films of the 1980s. Released during a decade notorious for its emphasis on making money, it provided a gently satiric commentary on people whose lives are driven by their jobs. That said, Broadcast News is far from being a cautionary tale: instead, it is a funny, touching portrait of three people in the midst of an often turbulent love affair with their work and, less occasionally, with each other.
Another effort from notoriously tasteless duo John Waters and Divine, Multiple Maniacs finds heavyweight transvestite Divine as the maniacal head of a group of murderous kidnappers. Bent on ridding society of it's most boring element, suburbanites, Divine and company tour under the guise of Lady Divine's Cavalcade of Perversions, a not-so-elaborate ruse to lure in the most complacent element of the population and slaughter them en masse.
A generally faithful adaptation of Jerzy N. Kosinski's quirky comic novel that is blessed with a devastatingly hilarious deadpan performance by top-billed Peter Sellers, Being There examines contemporary America's cultural life and finds it wanting in many ways. Sellers plays Chauncey Gardner, a middle-aged, sheltered illiterate who spends most of his waking hours watching TV, from which he gleans what little he knows of life.
Adriana (Stefania Sandrelli) is a young woman from the country who gets caught up in the tempestuous temptations of the big city in this somber moral drama. She has a series of affairs that are just for fun, but she becomes depressed when she desperately looks for a more meaningful relationship. The only men she finds sympathy with are a battered boxer (Mario Adorf) and a publicity agent (Nino Manfredi).
This satirical murder mystery pits a woman who is the epitome of glamour (played by Haruko Wanibuchi) against a clever murderer during a holiday stay at a strange ghostly mansion. Seven young women, who have chosen as nicknames the brand names of much-advertised consumer products, begin to disappear in a decidedly suspicious manner.
Produced by Humphrey Bogart's Santana Productions, Nicholas Ray's In a Lonely Place (1950) uses a murder mystery to delve into the questionable side of Hollywood violence and the potentially dangerous turmoil beneath Bogart's tough surface.
The cornerstone of the career-long exploration of cinematic time by director Richard Linklater (Boyhood), this celebrated three-part romance captures a relationship as it begins, begins again, deepens, strains, and settles over the course of almost two decades. Chronicling the love of Celine (Julie Delpy) and Jesse (Ethan Hawke), from their first meeting as idealistic twentysomethings to the disillusionment they face together in middle age, The Before Trilogy also serves as a document of a boundary-pushing and extraordinarily intimate collaboration between director and actors, as Delpy and Hawke, who cowrote two of the films, imbue their characters with a sense of raw, lived-in experience, and as they age on-screen along with them.