Robert Bresson's ravishing second feature (1945) relocates a self-contained anecdote from Diderot's 18th-century Jacques le Fataliste in a modern setting, with dialogue by Cocteau, about a jealous woman (Maria Casares), ditched by her lover (Paul Bernard), who takes her revenge by tricking the man into marrying a prostitute (Elina Labourdette).
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A tall Eurasian man in Chicago's Chinatown is glimpsed by a lonely Asian-American woman (Angela Chan) and a gay man preparing to return to Hong Kong (Isaac Leung); both immediately develop crushes on him, though none of the three ever meet.
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A feudal lord in 16th-century Bohemia enlists a priest of the Inquisition to target the son of a troublesome miller, on the pretense that the boy's vast knowledge of nature must be the result of some satanic bargain.
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Sometimes labeled punk and often referred to as "No Wave" filmmaking, Vivienne Dick's DIY Super-8 films from the late 70s are raw, fragmentary, arguably feminist, and fascinating for their adversarial stance.
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Like Jia Zhang-ke's Unknown Pleasures and the recent documentary Burma VJ, this Iranian drama was shot on video clandestinely because national review boards would never allow a studio to produce it.
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Unusually seedy and small-scale for a Fox picture of 1952, this black-and-white thriller is set over one evening exclusively inside a middle-class urban hotel and the adjoining bar.
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The neatest thing about Giuseppe Capotondi's debut feature is how it reverses the mechanics of most crime movies: the criminal activity (which includes murder, robbery, and identity forging) is presented coldly and matter-of-factly, while the mundane moments are made to seem tense with possibility.
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