In the devastating first film of the Three Colours trilogy, Juliette Binoche gives a tour de force performance as Julie, a woman reeling from the tragic death of her husband and young daughter. Shot in sapphire tones by Sławomir Idziak, and set to an extraordinary operatic score by Zbigniew Preisner, Blue is an overwhelming sensory experience.
Michael Haneke ingeniously reworks and updates the enduringly relevant themes of all his previous films in one brief, brilliant, sometimes slyly satirical gem.
The most playful and also the grittiest of Kieślowski’s Three Colours films follows the adventures of Karol, a Polish immigrant living in France. White, which goes on to chronicle Karol Karol’s elaborate revenge plot, manages to be both a ticklish dark comedy about the economic inequalities of Eastern and Western Europe and a sublime reverie about twisted love.
An iconic piece of challenging 1960s cinema and a gripping narrative on its own terms, L’avventura concerns the enigmatic disappearance of a young woman during a yachting trip off the coast of Sicily, and the search taken up by her disaffected lover (Gabriele Ferzetti) and best friend (Monica Vitti). Antonioni’s controversial masterwork is a gorgeously shot tale of modern ennui and spiritual isolation.
Krzysztof Kieślowski closes his Three Colours trilogy in grand fashion, with an incandescent meditation on fate and chance, starring Irène Jacob as a sweet-souled yet sombre runway model in Geneva whose life dramatically intersects with that of a bitter retired judge, played by Jean‑Louis Trintignant.
This boldly cinematic trio of stories about love and loss, from Krzysztof Kieślowski was a defining event of the art-house boom of the 1990s. Marked by intoxicating cinematography and stirring performances by such actors as Juliette Binoche, Julie Delpy, Irène Jacob, and Jean-Louis Trintignant, Kieślowski’s Three Colours is a benchmark of contemporary cinema.
“The best actors in the world are those who feel the most and show the least.” – Jean-Louis Trintignant. We pay tribute to the late Jean-Louis Trintignant with a programme of six of some of his most iconic roles.
Michael Haneke ingeniously reworks and updates the enduringly relevant themes of all his previous films in one brief, brilliant, sometimes slyly satirical gem.
An iconic piece of challenging 1960s cinema and a gripping narrative on its own terms, L’avventura concerns the enigmatic disappearance of a young woman during a yachting trip off the coast of Sicily, and the search taken up by her disaffected lover (Gabriele Ferzetti) and best friend (Monica Vitti). Antonioni’s controversial masterwork is a gorgeously shot tale of modern ennui and spiritual isolation.
Bernardo Bertolucci's expressionist masterpiece of 1970, The Conformist, is the movie that plugs post-war Italian cinema firmly and directly into the emerging 1970s renaissance in Hollywood filmmaking.
The first half of Stanley Kubrick’s masterful adaptation of William Makepeace Thackeray’s picaresque novel plays like a documentary of 18th-century manners, pairing the external world that the eponymous Irish rake is so anxious to conquer with interior shots that are truly revelatory.
A bottle-blonde Jeanne Moreau is at her blithe best as a gorgeous gambling addict, and Claude Mann is the bank clerk drawn into her risky world. Featuring a mesmerizing score by Michel Legrand, Bay of Angels is among Demy’s most sombre works.
The third of Rohmer’s “Moral Tales” and his first international hit, My Night at Maud’s centers around a serious young Catholic engineer who, over the course of several days around Christmas, explores the intersection of chance and choice in his life.
I was so young once!" cries the unnamed woman played by Emmanuelle Riva in Alain Resnais's Hiroshima mon amour. More than a half century later, the octogenarian Riva first appears in Michael Haneke's Amour as a corpse
Originally banned by the BBC for scenes of sexual sadism and bondage, Trans-Europ-Express was written and directed by ground-breaking and daring filmmaker Alain Robbe Grillet.