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Stalker
(1979)
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Emmanuel Carrère
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The opening is one of the most gripping and visionary moments I have ever seen in the cinema.
Posted May 04, 2022
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Fanny and Alexander
(1982)
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Jean-Pierre Jeancolas
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The Bergman of Fanny and Alexander is a quiet Bergman who gives us enjoyment by telling us a story, his story, on condition that one does not read into it too much that is personal as if it were nothing more than autobiographical.
Posted May 04, 2022
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Drowning by Numbers
(1988)
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Alain Masson
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The fact that there are so many rules and that they can be degraded make a supreme form of regularity impossible at the same time as it becomes more essential, more urgent. Such formal matters permeate the whole film.
Posted May 04, 2022
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F for Fake
(1973)
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Gérard Legrand
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In F for Fake, the creation of illusion completely overtakes the craving for power. Hence the exceptional euphoria generated by the film.
Posted May 04, 2022
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A Brighter Summer Day
(1991)
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Thomas Bourguignon
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Yang also focuses on a typical family, a micro-society that allows him to reflect on the contradictions and aspirations of individuals, less a function of nationality and class (as in the gangs) than of age and sex.
Posted May 04, 2022
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Van Gogh
(1991)
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Oliver Kohn
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Simple confidence makes a deeply moving conclusion.
Posted May 04, 2022
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The Clowns
(1970)
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Frédéric Vitoux
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From the very outset, Fellini does not falsify the world within which the clowns play their games in an attempt to make it correspond to his feelings, but instead finds among them those facets that are in tune with his own sensitivities.
Posted May 03, 2022
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The Piano
(1993)
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Thomas Bourguignon
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In film after film, with ever-increasing depth and intensity, [Campion] invites us to contemplate human beings lost in the sleep of reason.
Posted May 03, 2022
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In the Realm of the Senses
(1976)
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Robert Benayoun
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Serenity in intensity, bliss in turmoil, transcendence in total perdition, that, with very modest means, is precisely what Nagisa Oshima has achieved in his very latest film, In the Realm of the Senses.
Posted May 03, 2022
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Excalibur
(1981)
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Jean-Philippe Domecq
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Although Boorman was not afraid of weighty images, none of his excesses is really excessive. His images reveal an aesthetic of the supernatural that is necessary to the story of Excalibur.
Posted May 03, 2022
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Let Joy Reign Supreme
(1975)
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Jacques Demeure
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The impression of reality is reinforced by the use of natural scenery, roads and streets used for daily life, where coaches loaded with gold knock over the market stalls... most of all, it flows from the extremely mobile camera.
Posted May 03, 2022
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A City of Sadness
(1989)
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N.T. Binh (Yann Tobin)
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The overworked term "masterpiece" to designate an artistic triumph as well as the successful completion of an ambitious undertaking can be applied here without reservation.
Posted May 03, 2022
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Ed Wood
(1994)
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Jean-Pierre Coursodon
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Ed Wood is nevertheless one of the most convincing evocations of the old Hollywood, perhaps (paradoxically) because the re-created universe is so marginal, lacking so much of the traditional Hollywood glamour.
Posted May 03, 2022
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Days of Heaven
(1978)
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Michel Ciment
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Malick’s masterpiece is one of the most original and complex films in the contemporary cinema.
Posted May 03, 2022
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Secrets & Lies
(1996)
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Noël Herpe
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This is exactly the challenge taken up by Leigh: bring film back to its community calling and remember that, beyond the confusion of images and identities, there are... people with pasts, sufferings, things to say, families -- and we are all part of it.
Posted May 03, 2022
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Fargo
(1996)
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Alain Masson
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The spirit of comedy counterbalances the violence of the gangster film and trumps it hands down. Kind ordinariness and the wordy story clash victoriously with the irony of fate that lies in wait for enterprising hearts.
Posted May 03, 2022
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Time Regained
(1999)
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Guy Scarpetta
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More than a film adaptation of Proust, a cinematographically Proustian film.
Posted May 03, 2022
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California Split
(1974)
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Michael Henry Wilson
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Altman is pursuing... the pure romanesque, but what it gives rise to is a picaresque universe in keeping with the new times. It therefore has none of the usual mythology or pathos that has for so long structured the rhetoric of films about gamblers.
Posted May 03, 2022
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Vincent, Francois, Paul... and the Others
(1974)
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Michel Sineux
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Always alert, almost abstract in reality were it not so well fleshed out, full of nerve and sinew, through the rhythm of human behavior and its fluctuations.
Posted May 03, 2022
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Sleuth
(1972)
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Alain Garsautl
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Rarely has a film so precisely, by its very form, established its maker as the all-powerful, organizing intelligence that the audience cannot perceive directly. This concept is deeply rooted in Mankiewicz’s attitude toward his subject and his art.
Posted May 03, 2022
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The Mattei Affair
(1972)
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Michel Ciment
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At a time when abundance and accumulation are triumphing, Rosi searches for precision and concentration.
Posted Apr 06, 2022
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A Clockwork Orange
(1971)
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Jean-Loup Bourget
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Kubrick’s intention is thus not for the audience to identify with Alex, but to see retrospectively that they are in the same situation as Alex, if they are to believe what they are watching.
Posted Apr 05, 2022
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The Honeymoon Killers
(1969)
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Michel Pérez
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We have rarely seen a more lucid portrait of a middle-class American woman. The picture is stern, but stops short of easy caricature just as it avoids the misogynistic mythology so typical of New York wits.
Posted Apr 05, 2022
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Rosemary's Baby
(1968)
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Michel Pérez
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Polanski does not relinquish his personality to Hollywood; he proves that he can achieve dazzling success where many European filmmakers of his generation failed.
Posted Apr 05, 2022
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Belle de Jour
(1967)
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Louis Séguin
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Seeking rational justifications for his tale would remove all of Bunuel’s impact.
Posted Apr 05, 2022
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Cleo From 5 to 7
(1961)
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Roger Tailleur
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Cleo is thus both the freest of films and the film that is the greater prisoner of constraints, the most natural and the most formal, the most realistic and the most precious, the most moving to see and the most pleasant to watch.
Posted Apr 05, 2022
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Time Without Pity
(1957)
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Bertrand Tavernier
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From the very first sequence, and even the very first shot, we know that we are about to see a film directed by someone who has taken his ideas to the limit.
Posted Apr 05, 2022
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Hiroshima, Mon Amour
(1959)
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Bernard Pingaud
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The makers wanted to tell the story and do, in fact, tell it through images and speech. It would be difficult to imagine a silent Hiroshima. The dialogue is never really explanatory, but rather a key component of the story.
Posted Apr 05, 2022
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Kanał
(1957)
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Ado Kyrou
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Thus calmly and deliberately, I state: Wajda stands beside Luis Bunuel and Ingmar Bergman. He is in the line that goes from Louis Feuillade to Frank Borzage, and from Jean Vigo to Georges Franju.
Posted Apr 05, 2022
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Kind Hearts and Coronets
(1949)
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Bernard Chardère
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No detail has been left to chance. Each word is carefully weighed, there is not one word too many, each scene is meticulously prepared, and none could possibly have been structured or executed better.
Posted Apr 04, 2022
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The African Queen
(1951)
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Jacques Demeure and Michel Subiela
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Thus out of something that could have turned into a saga of patriotism, Huston has made a personal adventure... At the end of this absurd odyssey, it is easy to imagine Sisyphus in domestic bliss.
Posted Apr 04, 2022
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