After making his name with Val Lewton's horror unit at RKO, director Jacques Tourneur moved up to more prestigious projects with this 1946 Technicolor western, produced by Walter Wanger for Universal.
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Olivier Assayas—the brilliant director of Summer Hours (2008), Demonlover (2002), and Irma Vep (1996)—chronicles the 20-year career of international terrorist Ilich Ramirez Sanchez, popularly known as Carlos the Jackal.
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The title of this 2010 French release translates more precisely as "true or faithful copy," which may give you a better idea where Iranian writer-director Abbas Kiarostami (Taste of Cherry) is going with it.
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Leave it to Pedro Costa (In Vanda’s Room, Colossal Youth) to achieve a painterly beauty with the oddest of formats, black-and-white digital video; his low-contrast imagery isolates the subjects in pools of warm shadow and gives them the haunting sense of existing outside of time.
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Presented by Chicago Filmmakers and the Chicago Architecture Foundation, this outstanding program of seven eclectic shorts celebrates the significant architecture of the city and suburbs.
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The hood trying to go straight has been a staple of the gangster movie almost since its inception, but the premise still resonates in this first-rate crime thriller from Poland (2010).
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Chaplin's last silent has the high refinement and simplicity of a final statement—a sense of farewell that marked many American films in the watershed year of 1928.
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A fly-on-the-wall look at writer-statesman Vaclav Havel, the president of Czechoslovakia who oversaw its transformation into the Czech Republic in 1992.
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This beautiful family saga by the great Taiwanese filmmaker Hou Hsiao-hsien begins in 1945, when Japan ended its 51-year colonial rule in Taiwan, and concludes in 1949, when mainland China became communist and Chiang Kai-shek's government retreated to Taipei.
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In structure, acting quality, and thematic sophistication, this subversive black-and-white comedy by Alex Ross Perry represents a step up from his 2009 debut feature, Impolex.
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Suffocatingly corrosive and misanthropic, this 1943 thriller was shot in occupied France by Henri-Georges Clouzot (The Wages of Fear), and its story of a small town terrorized by anonymous poison-pen letters so effectively captures the national paranoia that after the war Clouzot was unjustly persecuted as anti-French.
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