World Class Cinema

Breathless

The movie that heralded the French New Wave movement, this lean and exciting 1959 film directed by Jean-Luc Godard (A Woman Is a Woman, Weekend) broke new ground not only in its unorthodox use of editing and hand-held photography, but in its unflinching and nonjudgmental portrayal of amoral youth. Jean-Paul Belmondo and Jean Seberg play two young lovers on the run from the law after Belmondo kills a cop and steals a car. Soon they are on an odyssey through the streets of Paris searching for some money he is owed so that he and his American girlfriend can escape to Italy. As a chase picture it features some startling photography on the streets of Paris, but as a romance it defies expectations, existing as part tragedy and part Bonnie and Clyde crime movie. The result is a wholly original film experience. Inspiring not only a remake starring Richard Gere but numerous films and television series, Breathless is an essential part of motion picture history. --Robert Lane

Russian Ark: The Masterworks Edition

Russian master Alexander Sokurov has tapped into the very flow of history itself for this flabbergasting film. Thanks to the miracles of digital video, Sokurov (and cinematographer Tilman Buttner) uses a single, unbroken, 90-minute shot to wind his way through the Hermitage in St. Petersburg--the repository of Russian art and the former home to royalty. Gliding through time, we glimpse Catherine II, modern-day museumgoers, and the doomed family of Nicholas II. History collapses on itself, as the opulence of the past and the horrors of the 20th century collide, and each door that opens onto yet another breathtaking gallery is another century to be heard from. The movie climaxes with a grand ball and thousands of extras, prompting thoughts of just how crazy Sokurov had to be to try a technical challenge like this--and how far a distance we've traveled, both physically and spiritually, since the movie began. --Robert Horton

A modern filmmaker magically finds himself transported to the 18th century, where he embarks on a time-traveling journey through 300 years of Russian history in Alexander Sokurov's masterpiece. Filmed in HD with directors commentary

In the Realms of the Unreal - The Mystery of Henry Darger

Henry Darger, an elderly recluse, spent his childhood in Illinois's asylum for feeble-minded children and his adulthood working as a janitor. He lived a quiet, nearly solitary existence, but his imaginary life was exciting, colorful and sexually provocative. When he died in Chicago in 1973, his landlady discovered in his room 300 paintings, some over 10 feet long, and a 15,000-page illustrated novel (The Realms of the Unreal), which told the epic story of the virtuous Vivian Girls leading a child slave revolt against the evil Glandelinians. Featuring Dakota Fanning (Hide and Seek) and Larry Pine (The Royal Tenenbaums) as narrators and imaginative animation of Darger's work, Oscar® winner Jessica Yu (Breathing Lessons) brings to life one of the twentieth century's greatest self-taught artists.

Breaker Morant

Before coming to America to make such acclaimed films as Tender Mercies and Driving Miss Daisy, Australian director Bruce Beresford made a lasting impression with this compelling courtroom drama, considered one the finest films of the Australian new wave of the late 1970s and early 1980s. Based on a true story about three soldiers in the Boer War who are served up as political scapegoats of the British Empire, the film uses a flashback structure to dramatize the courtroom testimony. It begins when the three Australian soldiers are railroaded for the justified killing of a German missionary and placed on trial for court-martial not as a matter of justice, but to mollify the German government for the sake of political expediency. Burdened with a competent but inexperienced and hopelessly disadvantaged lawyer, the soldiers realize that their fate has been sealed and the outcome of their trial is a fait accompli. Unfolding with urgent precision and a riveting focus on its well-drawn characters, Breaker Morant was the all-time box-office hit in Australia at the time of its release in 1980, and it remains one of the very best historical dramas ever made. --Jeff Shannon

La Notte

Continuing the "alienation trilogy" that began with L'Avventura and ended with L'Eclisse, Michelangelo Antonioni's La Notte is a visually arresting, emotionally numbing exercise in chronic ennui. The film's anesthetizing effect is entirely intentional; Antonioni's central couple (Marcello Mastroianni as a self-absorbed novelist, Jeanne Moreau as his bored and wealthy wife) wallow in their own emotional desolation, constantly drifting--and in Moreau's case, literally drifting--from one disaffected scene to the next. Antonioni's pained study of modern detachment is richly supported by his visuals, often placing his isolated characters in a harsh landscape of empty glamor and even emptier emotions. Driving the point home is Monica Vitti as Marcello's would-be mistress; in their aimless lassitude, neither can muster the necessary passion. It's all too superficial to register with any lasting dramatic impact, but La Notte remains the fascinating work of a master, redefining how movies reflect the many facets of humanity. --Jeff Shannon

Antonioni's study of alienation and moral decay chronicles a day in the life of a middle-class couple whose marriage has been destroyed by mutual indifference and impenetrable loneliness.

Ran

As critic Roger Ebert observed in his original review of Ran, this epic tragedy might have been attempted by a younger director, but only the Japanese master Akira Kurosawa, who made the film at age 75, could bring the requisite experience and maturity to this stunning interpretation of Shakespeare's King Lear. It's a film for the ages--one of the few genuine screen masterpieces--and arguably serves as an artistic summation of the great director's career. In this version of the Shakespeare tragedy, the king is a 16th-century warlord (Tatsuya Nakadai as Lord Hidetora) who decides to retire and divide his kingdom evenly among his three sons. When one son defiantly objects out of loyalty to his father and warns of inevitable sibling rivalry, he is banished and the kingdom is awarded to his compliant siblings. The loyal son's fears are valid: a duplicitous power struggle ensues and the aging warlord witnesses a maelstrom of horrifying death and destruction. Although the film is slow to establish its story, it's clear that Kurosawa, who planned and painstakingly designed the production for 10 years before filming began, was charting a meticulous and tightly formalized dramatic strategy. As familial tensions rise and betrayal sends Lord Hidetora into the throes of escalating madness, Ran (the title is the Japanese character for "chaos" or "rebellion") reaches a fever pitch through epic battles and a fortress assault that is simply one of the most amazing sequences on film. Although this awesome epic is best viewed on a big theatrical screen, the DVD presents the widescreen film with a higher quality of image and sound than was ever previously available in any home-video format. --Jeff Shannon

My Life to Live

Nana (Anna Karina) is a Parisian salesgirl who drifts into prostitution. The story is told in the form of a documentary, separated into 12 tableaux. Godard has said that the division into tableaux was to emphasize the theatrical nature of the film, and also because when you look at something for too long you end up knowing less about it. Breaking it up into bite-size chunks can be helpful. What we see is a romantic portrait of womanhood caught between her own role (she wants to be an actress) and that which she is allowed or compelled to do. This is brought home most poignantly when Nana goes to a showing of Carl Dreyer's The Passion of Joan of Arc and her tear-streaked face is intercut with that of Maria Falconetti playing Joan, about to be led to the stake. Add to that the further layer that we have a Danish actress (Karina) in a French film, watching a French actress (Falconetti) in a Danish film, and the implications play out grimly. This is one of Godard's finest films, both austere and compellingly watchable. --Jim Gay

Tarnation

A dark and troubling dream that David Lynch must envy, made all the more unsettling because it's true, Tarnation can only be called at auto-documentary. It's a self-portrait of the family life of Jonathan Caouette, whose mother Renee (a former child model) was forced to undergo electric shock treatment repeatedly in her youth, leading to erratic behavior throughout her life. But though the events of Caouette's life are sad, horrific, or a testament to human resilience, what makes the movie striking is how it was made: Caouette cobbled the movie together from photographs, tape recordings, and home movies that he's shot throughout his life, ranging from footage of himself at 11 years old imitating a battered wife to trashy horror movies he made as an adolescent to the first time he met his father. The unique and fluid result is mesmerizing and eerily intimate, like stepping into someone else's stream of consciousness--though few of our dreams have such a killer indie rock soundtrack. --Bret Fetzer

DVD extras include: Director commentary, optional French subtitles, Photo Gallery. Jonathan Caouette's spellbinding debut film Tarnation re-imagines the whole idea of what a documentary can be. Having filmed his life since he was eleven years old, Caouette has woven together a psychedelic whirlwind of snapshots, super-8 home movies, answering machine messages, video diaries, early short films, snippets of '80s pop culture and dramatic re-enactments to create an epic portrait of an American family torn apart by dysfunction and reunited through the power of love. arnation begins in 2003 as Caouette learns of his mother's lithium overdose back in his native Texas. Faced with the haunting remnants of his past, including a family history of mental illness, abuse and neglect, Caouette returns home to aid in his mother's recovery. During this time, he rekindles a touching relationship with his mother, another victim of a tumultuous childhood and discovers that family ties are never truly unbound.

Twentynine Palms

No one can accuse director Bruno Dumont of taking the easy road. Dumont's Life of Jesus and L'Humanite are fascinating, but they test the comfort zone of even the most devoted art-house maven. Twentynine Palms serves up more of Dumont's uncompromising rigor, this time set in America. A couple scout locations in the desert around Joshua Tree, and spend most of their time fighting or having sex. The frankness of the director's approach to sex does not prepare one for the shock of the truly bleak final reels. This Last Tango in Zabrieskie Point has a lulling, creepy power before it reaches those shocks, although actors David Wissak and Katia Golubeva are perhaps not as compelling as Dumont wants them to be. Of course, he's showing empty people traversing one of the emptiest places on earth--so maybe it fits. In any case, this film will shake you if you stick with it. --Robert Horton

From Bruno Dumont, one of the leading visionaries of world cinema, comes Twentynine Palms, a mesmerizing story of love, sex and evil set deep in the Joshua Tree desert. While scouting for a photo shoot location, an American photographer (David Wissak) and his Russian/French girlfriend (Katia Golubeva) spend their days engaging in impassioned fights, hasty reconciliations and frequent bouts of sex, until a shocking act of desperation leads to an unforeseen and brutal climax. DVD extras include: 5.1 Extraction, Trailer, Interview with Director, EPK, Making of Reel, Subtitle Control

Strayed

Emmanuelle Béart gives another beautiful performance in this fable-like story of World War II. She plays a widow with two children in tow; escaping from Paris, their car is bombed in the countryside and they stagger into the woods along with a rough, savvy teenage boy (the feral Gaspard Ulliel). Their idyll in an abandoned chateau takes up the remainder of the film, as various tensions simmer within this ad hoc family unit. Director Andre Techine (Wild Reeds, Scene of the Crime) is a master of the small, telling moment and the frailty of people in a natural landscape. He also proves, in the riveting sequence of Germans attacking the line of refugees, that he could probably make a great action film if he cared to. Along with Béart's sensuality, his treatment of hushed interiors and sympathy for the imagination of children creates an intimate arena for these lost souls. --Robert Horton

DVD extras include: 16x9 anamorphic, 5.1 sound, interviews with Andre Techine, Gaspard Ulliel & Gilles Perrault, subtitle control, storyboards, photo gallery. Set in 1940 at the beginning of France's occupation by the Germans, Strayed stars French film icon Emmanuelle Béart (Nathalie, 8 Women) as Odile, a young and beautiful widow fleeing Paris with her two children. When German planes bomb the road filled with refugees, Odile's car is destroyed and the three must escape into the woods. There they encounter Yvan (sexy newcomer Gaspard Ulliel - Brotherhood of the Wolf), a 17 year-old illiterate delinquent whose survival skills and charm soon prove indispensable. They soon take shelter in an abandoned house and become a makeshift family. Odile, at once suspicious of and attracted to the mysterious stranger, soon finds herself at the center of a fascinating set of personal and sexual dynamics. One of the most respected filmmakers in France, André Téchiné (Wild Reeds, Rendez-Vous) once again, builds on his reputation as one of the most sensitive and intelligent filmmakers working today.