Drama

Eva Green, Louis Garrel, Michael Pitt. The sensual tale of three film lovers whose casual friendship evolves when their passion for movies becomes a passion for each other. A scintillating tale directed by Academy Award winner Bernardo Bertolucci. 2004/color/115 min/NC-17/widescreen.

A love letter to movies (and the French new wave of the 1960s in particular), Bernardo Bertolucci's The Dreamers starts with a 1968 riot outside of a Parisian movie palace then burrows into an insular love triangle. Matthew (Michael Pitt, Hedwig and the Angry Inch), an expatriate American student, bonds with a twin brother and sister, Isabelle (Eva Green) and Theo (Louis Garrel), over their mutual love of film--they not only quote lines of dialogue, they act out small bits and challenge each other to name the cinematic source. Matthew suspects the twins of incest, but that doesn't stop him from falling into his own intimacies with Isabelle. As the threesome becomes threatened, Paris succumbs to student riots. The Dreamers aspires to be kinky, but the results are more decorative than decadent; nonetheless, the movie's lively energy recalls the careless and vital exuberance of Godard and Truffaut. --Bret Fetzer

Nominated for 7 Academy Awards, including Best Picture, and winner of 3, The Pianist stars Oscar winner Adrien Brody in the true-life story of brilliant pianist and composer Wladyslaw Szpilman, the most acclaimed young musician of his time until his promising career was interrupted by the onset of World War II. This powerful, ultimately triumphant film follows Szpilman’s heroic and inspirational journey of survival with the unlikely help from a sympathetic German officer (Thomas Kretschmann). A truly unforgettable epic, testifying to both the power of hope and the resiliency of the human spirit, The Pianist is a miraculous tale of survival masterfully brought to life by visionary filmmaker Roman Polanski in his most personal movie ever.

Winner of the prestigious Golden Palm award at the 2002 Cannes film festival, The Pianist is the film that Roman Polanski was born to direct. A childhood survivor of Nazi-occupied Poland, Polanski was uniquely suited to tell the story of Wladyslaw Szpilman, a Polish Jew and concert pianist (played by Adrien Brody) who witnessed the Nazi invasion of Warsaw, miraculously eluded the Nazi death camps, and survived throughout World War II by hiding among the ruins of the Warsaw ghetto. Unlike any previous dramatization of the Nazi holocaust, The Pianist steadfastly maintains its protagonist's singular point of view, allowing Polanski to create an intimate odyssey on an epic wartime scale, drawing a direct parallel between Szpilman's tenacious, primitive existence and the wholesale destruction of the city he refuses to abandon. Uncompromising in its physical and emotional authenticity, The Pianist strikes an ultimate note of hope and soulful purity. As with Schindler's List, it's one of the greatest films ever made about humanity's darkest chapter. --Jeff Shannon

• Condition: New
• Format: DVD
• AC-3; Closed-captioned; Color; Dolby; DVD; Subtitled; Widescreen; NTSC

Picturehouse and HBO Films present a critically-acclaimed biopic about the legendary international singing icon Edith Piaf, whose voice and talent captivated the world. Starring award-winner Marion Cotillard (A Very Long Engagement, A Good Year) in an astonishing performance, the film is a portrait of a remarkable artist born into poverty who survived using the only gift she had â€" her voice. Piaf’s tragic life was a constant battle to sing and survive, to live and love, with no regrets.

Edith Piaf is the subject of La Vie en Rose, director Olivier Dahan's powerful if emotionally redundant biographical film about the iconic French superstar whose life, as depicted here, seems to have been a numbing succession of tragedies interrupted on occasion by artistic triumph. Dahan's portrait begins with Piaf's stay in a brothel as a young girl. Left to the care of her grandmother (who runs the place) after her father pulls her away from a narcissistic mother, Piaf undergoes significant health problems and grows up to sing on the street in lieu of outright prostitution. The film pulses along with the usual biopic rhythms, with pivotal moments in the life of Piaf (played as an adult by Marion Cotillard) turning up regularly only to be smacked aside by the unseen hand of perpetual misfortune. There's the impresario (Gerard Depardieu) who recognizes Piaf's great but raw talent only to have a run-in with the criminal element around her. There's the heavyweight fighter (Marcel Cerdan) who becomes the love of Piaf's life but can't be with her. Drug addiction, random car accidents, tax problems, you name it, it's all here, topped by an unnerving revelation that pops up in La Vie en Rose's final moments. After awhile, with such a concentration of bad news squeezed into 140 minutes, one begins to wish Dahan had taken a more expansive approach to Piaf's life and times. But the film is never less than interesting, and the lead performance by Cotillard is often astonishing. --Tom Keogh

• Condition: New
• Format: DVD
• Anamorphic; Closed-captioned; Color; DVD; Subtitled; Widescreen; NTSC

Treachery. Madness. Murder. The story of Hamlet has been told for 400 years...but it's never been told like this! Mel Gibson (the Mad Max and Lethal Weapon films) takes on his richest part to date, the title role in a dynamic new version of Shakespeare's Hamlet. Directed by Franco Zeffirelli (Romeo and Juliet, Jesus of Nazareth), the location-shot production has a sumptuous look that won Academy Award nominations for Art Direction and Costume Design. Gibson plays the prince of medieval-era Denmark, who senses treachery behind his royal father's death. Glenn Close (Fatal Attraction, Dangerous Liaisons) plays Hamlet's mother Gertrude, all too dangerously entangled in that treachery. A brilliant supporting cast, including Alan Bates as Claudius, Paul Scofield as the ghost of Hamlet's father, Ian Holm as Polonius and Helena Bonham-Carter as Ophelia, adds its powerful presence to this immortal tale of high adventure and evil deeds. Big, bold and heroic, this is a vivid and virile Hamlet for the modern age and all time.

Franco Zeffirelli's stripped-down, two-hour version of Shakespeare's play stars Mel Gibson as a rather robust version of the ambivalent Danish prince. Gibson is much better in the part than many critics have admitted, his powers of clarity doing much to make this particular Hamlet more accessible than several other filmed versions. The supporting cast is outstanding, including Glenn Close as Gertrude, Alan Bates as Claudius, Ian Holm as Polonius, and Helena Bonham Carter as Ophelia. Zeffirelli's vigorous direction employs a lively camera style that nicely alters the viewer's preconceptions about the way Hamlet should look. --Tom Keogh

Monica Bellucci, Vincent Cassel, Albert Dupontel. A harrowing tale of one fateful night in the life of an average couple, told through inventive camera techniques and imaginative storytelling in reverse chronological order. 2003/color/97 min/UR/widescreen.

Irreversible begins with the closing credits running backwards before the film begins (or ends) with Marcus (Vincent Cassell) and Pierre (Albert Dupontel) being escorted out of a gay S&M club by the cops, Marcus with his arm broken and Pierre in handcuffs. The "story" proceeds to unwind in a series of single-take scenes that unfold Memento-style, with each scene giving more context to what we have seen previously. Each scenario depicts actions, dialogue, incident, behavior, and circumstances that the lead characters might have wished didn't happen, ranging from extreme violence through awkward social situations to mild embarrassment. The central character (and possible dreamer of this whole what-if story) emerges as Alex (Monica Bellucci), who suffers the worst in a very hard-to-watch rape sequence in an underpass. Semi-improvised, the scenes all have attack and power as themes, with later/earlier conversational sequences that suggest life isn't all sexual assaults in the dark, showing equal cinematic imagination with the horrors. Arguably, this is not a film most would subject themselves to twice, but it is something that stays in the mind for days after viewing, sparking far more ideas and emotions than most wallow-in-nastiness pictures. --Kim Newman

In PARIS, JE T'AIME, celebrated directors from around the world, including the Coen Brothers, Gus Van Sant, Gurinder Chadha, Wes Craven, Walter Salles, Alexander Payne and Olivier Assayas, have come together to portray Paris in a way never before imagined. Made by a team of contributors as cosmopolitan as the city itself, this portrait of the city is as diverse as its creators' backgrounds and nationalities. With each director telling the story of an unusual encounter in oe of the city's neighborhoods, the vignettes go beyond the 'postcard' view of Paris to portray aspects of the city rarely seen on the big screen. Racial tensions stand next to paranoid visions of the city seen from the perspective of an American tourist. A young foreign worker moves from her own domestic situation into her employer's bourgeois environs. An American starlet finds escape as she is shooting a movie. A man is torn between his wife and his lover. A young man working in a print shop sees and desires another young man. A father grapples with his complex relationship with his daughter. A couple tries to add spice to their sex life. These are but a few of the witty and serendipitous narratives that make up PARIS, JE T'AIME.

Even with the impressive talent involved, Paris, je t'aime could've ended up like a fallen soufflé. Though all 18 films aren't equally successful, they hit the mark more often than not. Romantics anticipating happy love stories set amongst the City of Lights may be disappointed to find that many are quite sad and that some parts of Paris are less inviting than others (each takes place in a different district). Further, the shorts aren't all en Français, since the actors and directors hail from around the world, but their outsider perspectives lend the project depth. The strongest entries are provided by Gurinder Chadha (Quais De Seine), Gus Van Sant (Le Marais), Oliver Schmitz (Place des Fêtes), and Alexander Payne (14ème Arrondissement), but all find interesting ways to explore cultural misunderstandings. In Joel and Ethan Coen's tragic-comic Tuileries, tourist Steve Buscemi angers a couple simply by making eye contact. Like Miranda Richardson in Isabelle Coixet's heartbreaking Bastille, he does all his acting with his expressive face. And while Maggie Gyllenhaal speaks the language adroitly in Olivier Assayas's intriguing Quartier des Enfants Rouges, Nick Nolte (purposefully) mangles it in Alfonso Cuarón's surprisingly weak Parc Monceau. The anthology ends with Payne's audio-postcard, in which Margo Martindale's postal carrier narrates her vacation in awkward, but endearing French. Instead of another person, she falls in love with Paris, simply for allowing her to be herself. It's the perfect finish to a poignant repast, like strawberries dipped in chocolate--sweet, but not cloyingly so. --Kathleen C. Fennessy

Jane March, Tony Leung. French colonial Vietnam is the setting for this tale of forbidden passion between an impoverished French teenager and a wealthy young Chinese man. 1992/color/112 min/R/widescreen.

Lovely to look at, this story reveals little more than the characters' nude bodies. Like couples whose only attraction is physical, this has little to offer once it leaves the bedroom. We never learn the interests or inner workings of the lovers in question. They become nothing more than attractive bodies, which makes this little more than a shallow exercise in sexuality. The story is based on the controversial, and supposedly autobiographical, bestseller by experimental French novelist Marguerite Duras. It tells the story of a young French schoolgirl who becomes sexually involved with a sophisticated, older Asian man. Set in Indochina in the late 1920s, this is stunningly photographed and artfully directed by Jean-Jacques Annaud. That said, the lack of a more satisfying plot means this is merely tastefully produced soft porn. --Rochelle O'Gorman

Based on the true story that captured the hearts of America, THE STRAIGHT STORY is one of those rare films offering powerful, uplifting entertainment for audiences of all ages. Directed by acclaimed director David Lynch (WILD AT HEART, MULHOLLAND DRIVE), this gentle, inspiring film celebrates the human spirit. Richard Farnsworth (MISERY, THE NATURAL) stars as Alvin Straight -- a no-nonsense man who has never been one to lean on others. Now at an age when his eyesight denies him the ability to drive and walking is accomplished only with the help of two canes, Alvin lives a quiet life with his daughter Rose (Sissy Spacek). But when the call comes that Alvin's estranged brother Lyle (Harry Dean Stanton, THE GREEN MILE) has suffered a debilitating stroke, Alvin embarks on a dangerous and emotional journey to make amends. With little money, but plenty of patience and tenacity, he climbs aboard his 1966 John Deere lawnmower and plots the 260-mile course from his small Iowa town to Lyle's home in Wisconsin. Filmed along the actual route that the real Alvin Straight traveled in 1994, THE STRAIGHT STORY is a heartwarming and poignant drama chronicling Alvin's six-week odyssey and the many lives he touches along the way.

• Queen Movie

Winner of the Academy Award® for Best Actress, Dame Helen Mirren gives a spellbinding performance in THE QUEEN, the provocative story behind one of the most public tragedies of our time — the sudden death of Princess Diana. In the wake of Diana's death, the very private and tradition-bound Queen Elizabeth II (Mirren) finds herself in conflict with the new Prime Minister, the slickly modern and image-conscious Tony Blair. THE QUEEN, also starring Academy Award® Nominee James Cromwell (Best Supporting Actor, BABE, 1995), takes you inside the private chambers of the Royal Family and the British government for a captivating look at a vulnerable human being in her darkest hour, as a nation grieving for its People's Princess waits to see what its leaders will do. Suspenseful, heartfelt and riveting, it's a fascinating story you won’t soon forget.

Helen Mirren reigns supreme in The Queen, a witty and ingenious look at a moment that rocked the house of Windsor: the week that followed the sudden death of Princess Diana in 1997. Diana's death came at just the same time that Prime Minister Tony Blair (played by the bright Michael Sheen) was settling into his new government--and trying to figure out the delicate relationship between 10 Downing Street and Queen Elizabeth II (Mirren). A large portion of the British population was trying to figure out the Windsors that week, as Elizabeth remained stiff-upper-lip and largely mum about the death of the beloved princess. In Peter Morgan's skillful script, we watch as Blair grows increasingly impatient with the Royals, who are sequestered in their Scottish estate while the public demands some show of grief. Prince Philip (James Cromwell, in good form) clumsily decides to take Diana's sons hunting, while a sympathetically-treated Prince Charles (Alex Jennings) displays some frustration with his mother's eerie calm.

None of this conveys how funny the film is, or how deftly it flows from one scene to the next. Director Stephen Frears (Dirty Pretty Things) deserves great credit for that, and for the performances, and for the movie's marvelous sense of well-roundedness; you could see this movie and groan at the cluelessness of the Royals and their outmoded existence, or you might just sympathize with showing reserve in a world that values gross public displays of emotion. But either way, you'll marvel at Mirren, who makes the Queen far more alert and human than one might ever have imagined. --Robert Horton

Beyond The Queen

The British are Coming! Kings & Queens on DVD

Helen Mirren Essential DVDs

The Queen: Music From the Motion Picture by Alexandre Desplat

One of the most influential films in the history of political cinema, Gillo Pontecorvo’s The Battle of Algiers focuses on the harrowing events of 1957, a key year in Algeria’s struggle for independence from France. Shot in the streets of Algiers in documentary style, the film vividly recreates the tumultuous Algerian uprising against the occupying French in the 1950s. As violence escalates on both sides, the French torture prisoners for information and the Algerians resort to terrorism in their quest for independence. Children shoot soldiers at point-blank range, women plant bombs in cafés. The French win the battle, but ultimately lose the war as the Algerian people demonstrate that they will no longer be suppressed. The Criterion Collection is proud present Gillo Pontecorvo’s tour de force—a film with astonishing relevance today.

Director Gillo Pontecorvo's 1966 movie The Battle of Algiers concerns the violent struggle in the late 1950s for Algerian independence from France, where the film was banned on its release for fear of creating civil disturbances. Certainly, the heady, insurrectionary mood of the film, enhanced by a relentlessly pulsating Ennio Morricone soundtrack, makes for an emotionally high temperature throughout. Decades later, the advent of the "war against terror" has only intensified the film's relevance.

Shot in a gripping, quasi-documentary style, The Battle of Algiers uses a cast of untrained actors coupled with a stern voiceover. Initially, the film focuses on the conversion of young hoodlum Ali La Pointe (Brahim Haggiag) to F.L.N. (the Algerian Liberation Front). However, as a sequence of outrages and violent counter-terrorist measures ensue, it becomes clear that, as in Eisenstein's October, it is the Revolution itself that is the true star of the film.

Pontecorvo balances cinematic tension with grimly acute political insight. He also manages an evenhandedness in depicting the adversaries. He doesn't flinch from demonstrating the civilian consequences of the F.L.N.'s bombings, while Colonel Mathieu, the French office brought in to quell the nationalists, is played by Jean Martin as a determined, shrewd, and, in his own way, honorable man. However, the closing scenes of the movie--a welter of smoke, teeming street demonstrations, and the pealing white noise of ululations--leaves the viewer both intellectually and emotionally convinced of the rightfulness of the liberation struggle. This is surely among a handful of the finest movies ever made. --David Stubbs