“No End” – Directed by Krzysztof Kieslowski
Krzysztof Kieslowski’s films can be difficult in more ways than one. Sometimes they feel formally impenetrable, others are simply painful to watch. They’re also full of political subtext, given the communist state in which he worked. Despite all these factors, he is still one of the most studied filmmakers in the world. “No End” is among the auteur’s lesser-known films, but is made up of recognizable motifs. A recently deceased lawyer has left his wife to deal with the fallout of his final case. Her husband is still floating around as a spirit, and Poland’s state of martial law has made wrapping up his affairs slightly more complicated. Characters in Kieslowski movies tend to be close to death, (“A Short Film About Killing”) whether they will soon be dead, or are caught up in a grief cycle (“Three Colors”) and “No End” is no different. It’s a politically-minded ghost story from an artist who was no stranger to wrestling with orderly absence.
“Confidentially Yours” – Directed by Francois Truffaut
The French New Wave icon’s final film (he died a year after its completion) is a tight little whodunit that David Fincher has perhaps seen a few times. It begins with a mysterious and awesomely stylized murder, launching a tense investigation. An associate of the victim’s fingerprints is found at the scene of the crime, whose wife is soon discovered to be the mistress of the deceased. With evidence piling up, the accused’s secretary starts snooping around in private, not entirely sold on the story. It’s a little more “In a Lonely Place” than “Zodiac” – never quite reaching the thrilling heights of either of those genre classics – but it has a surprisingly progressive female protagonist, and is a strong closing genre exercise from one of world cinema’s most memorable voices.
READ MORE: The Essentials: Francois Truffaut’s Best Films
“Palermo Shooting” – Directed by Wim Wenders
Thanks to Janus Films’ retrospective series on the German auteur a few years ago, we’ve been treated to several new Wim Wenders releases from the Collection recently, including his ‘Road Trilogy’ and the seminal music documentary, “Buena Vista Social Club.” His 2008 film, “Palermo Shooting” co-stars Lou Reed, playing himself. Its arguably a small-scale picture for Wenders, and the first he shot in his hometown, but we’re at the point where we’ve been treated to most of his major features – with his epic road-movie masterpiece, “Until the End of the World,” (featuring a killer soundtrack, including a Lou Reed needle drop) remaining the elusive outlier. One expects that the restoration is simply taking some time on that one, but in the meantime, the channel has a few other Wenders’ gems available – including “Tokyo Ga,” which also happens to be one of the earliest films shot by renowned DP, Edward Lachman.
“Le Petit Soldat” – Directed by Jean-Luc Godard
Jean Luc Godard’s “Le Petit Soldat” (The Little Soldier”) was banned in France until 1963 for its extreme torture scene. It’s also the film that united the French New Wave legend with his now iconic muse, Anna Karina. Set during the Algerian War, ‘Soldat’ is about a soldier forced to prove loyalty to country, exploring the fallout of his hesitation to assassinate an alleged revolutionary activist when instructed to do so by French Intelligence. The film culminates with the infamous interrogation sequence. It’s a very tough stretch to watch – much of it captured in long, exhausting takes – but, if you can stomach it, it’s also one of the most powerful scenes Godard has staged to date.
“Rocco And His Brothers” – Directed by Luchino Visconti
One of Martin Scorsese’s favorite movies, Luchino Visconti’s 3-hour masterpiece was immediately described by critics as excessive – which Marty finds ridiculous. “Rocco is one of the most sumptuous black-and-white pictures I’ve ever seen. The images, shot by the great Giuseppe Rotunno, are pearly, elegant and lustrous – it’s like a simultaneous continuation and development of neorealism,” Scorsese said. Starring Alain Delon and Claudia Cardinale, the film was censored upon initial release, and several cuts were demanded. Producer Goffredo Lombardo came up with a clever solution, proclaiming to darken the scenes to lessen their intensity. Eerie, how often history repeats itself. Purportedly, Scorsese altered his controversial climax to “Taxi Driver” similarly, when it was allegedly on its way to receiving an X-rating.
https://www.youtube.com/watch?v=M3tK_13gLDI
