The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise, L’eclisse tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and drifts into a relationship with another (Alain Delon). Using the architecture of Rome as a backdrop for the doomed affair, Antonioni achieves the apotheosis of his style in this return to the theme that preoccupied him the most: the difficulty of connection in an alienating modern world.

Germany in the autumn of 1957: Lola (Barbara Sukowa), a seductive cabaret singer – prostitute, exults in her power as a tempter of men, but she wants more – money, property, and love. Shot in childlike candy colors, Rainer Werner Fassbinder’s Lola, an homage to Josef von Sternberg’s classic The Blue Angel, is a wonderfully satirical tribute to capitalism.