A new director’s cut restores the nasty glory of Olivier Assayas’s 2002 thriller about global elites and pornographic anime.
By J. Hoberman
His drawings were so outrageous that, on first encountering them, his fellow cartoonist R. Crumb recalled feeling that “suddenly my own work seemed insipid.”
Ousmane Sembène’s “Mandabi,” about a devout Muslim man who comes into some money, is a post-colonial satire that’s still resonant today.
Tsai Ming-liang’s 2003 movie watches moviegoers as they watch a martial-arts classic inside a cavernous theater.
A fixture of the Lower East Side’s ’60s art scene, he had an abiding interest in black. “‘Black,’” he wrote, “is not the opposite of white; it is a state of being.”
Different planes of existence overlap in Manoel de Oliveira’s “Francisca,” a meta-narrative about an enigmatic love triangle in mid-19th-century Portugal.
“Damnation,” an atmospheric tale of erotic obsession, is the movie with which the Hungarian filmmaker Bela Tarr came into his own as a stylist.
“The Spook Who Sat by the Door,” a 1973 parable about institutional racism, was pulled from theaters after only a few weeks. The New York Film Festival is giving new life to the cult film.
Robert Kramer’s documentary, a “fascinating portrait of late-1980s attitudes toward religion, race and history,” is available for streaming.
Long out of distribution and now streaming, Med Hondo’s “Soleil Ô” is an unclassifiable allegory of economic migration and systemic racism as relevant now as it was in 1970.