Orson Welles's underrated 1973 essay film—made from discarded documentary footage by Francois Reichenbach and new material from Welles—forms a kind of dialectic with Welles's never-completed It's All True.
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Ousmane Sembene, the greatest of all African filmmakers (and one of the finest fiction writers on the continent as well), directed this upbeat 2000 comedy from Senegal, about a sassy, self-made woman who manages a filling station.
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Ruy Guerra's Brazilian feature (1988), based on a story by Gabriel Garcia Marquez, about a wealthy and spoiled adulterer who falls in love with a married woman who has a small child and messenger pigeons.
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Three of these ten videos address the common kids' fantasy of seizing power from the adults who run their lives: In Wonchan Song's Masterpieces a little bust of Beethoven watches over a boy's piano practice, first raising an eyebrow and then trying to instruct him, but the kid rebels with a rocking riff that literally shatters the master.
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Real-life brothers Jeff and Beau Bridges play Jack and Frank Baker, a second-rate cocktail-lounge piano duo with staying power who hire sexy vocalist Susie Diamond (Michelle Pfeiffer) to strengthen their act, in the impressive 1989 directorial debut of screenwriter Steve Kloves (Racing With the Moon), who also wrote the script.
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Wojciech Has's opulent and sometimes surreal 1988 historical spectacle is typical of the Polish director's later work: set in a turbulent period of European history (in this case the Reformation), it follows a kind of spiritual traveler as he confronts the difference between illusion and reality, past and present, life and death.
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Produced for IFC, this documentary by Lisa Ades and Lesli Klainberg makes a fine sequel to The Celluloid Closet (1995), focusing on the explosion of gay and lesbian voices in the indie cinema of the 90s.
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Tsai Ming-Liang (Goodbye, Dragon Inn) pays vague tribute to Francois Truffaut throughout this slow, self-indulgent, but often shockingly beautiful art film.
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