Filmmakers from Jacques Rivette to Hou Hsiao-hsien have treated the City of Light like Alice’s rabbit hole; writer-director Hong Sang-soo similarly embraces the fantasy, but goes one step further in this extraordinary character study by fully erasing the line that separates the actual from the fictional.

Sokurov, who also acted as director of photography, films the character and his surroundings with the eye of a newly arrived visitor to another world.

It’s likely that only Herzog would dare to, and succeed at, resolving this singular cinematic object by contemplating the fate of an abandoned basketball.

Strangely enough, our knowledge of what’s to come makes Word Is Out that much more affecting, because it shows that there were—and are—pockets of peace amid the brutality of an ongoing civil-rights struggle.

This is Young in his playroom, grabbing his toys at random while indulging his every antimelodic whim, and Demme’s off-the-cuff approach makes for the perfect aesthetic complement.

The most impressive aspect of Breillat’s feature is that it agitates like the best fairy tales, seducing us with otherworldliness before sticking the knife in and permanently inscribing the moral.

The meanings of Close-Up shift, subtly and profoundly, with every viewing; the only certainty is that its rewards are boundless.

Alain Resnais's mind-bending new feature.

Indeed, you leave the film feeling like Wiseman has given you a glimpse of one of those ephemeral ports in a storm to which all of us retreat at times.

These characters are more than what we see on the surface, and it's thanks to Leigh's rigorous yet generous eye that we never just gawk at the drama.

Its stunningly composed images showing how Isaac is himself something of a ghost-given to staring off into the distance, being condescended to by those around him, a man perpetually outside the times. What he needs is to take that one extra step toward his spectral siren; the scene in which he does so might be one of the most exhilarating visions of death's sweet embrace ever filmed.

What you see and hear always seems perfectly natural, even if you can't exactly say why. Who needs words when you have cinema?

The Tree of Life enthralls right from the start.

And though not all of Lonergan's conceits work on a scene-by-scene basis (an upper-crust womanizer played by Jean Reno skews a bit too close to caricature), the film has a cumulative power-solidified by a devastating opera-house finale-that's staggering. This is frayed-edges filmmaking at its finest.

Nichols has said that the idea for the film emerged from a free-floating anxiety that he sensed in the world at large, the feeling that everything we treasure in life could be lost in an instant. That sensation permeates this strikingly original movie - especially its enigmatic mind-fuck of a finale, which will haunt you for several lifetimes.

The Cold War is over, but director Tomas Alfredson (Let the Right One In) and his collaborators have brought those suspicion-fueled days to vivid life in this masterful adaptation of John le Carré's beloved 1974 spy novel.

Sure it is - and a great one at that.

A dream, indeed. Sure to delight foodies and cinephiles alike.

Those Dardenne brothers…still making great movies with second-nature ease.

Brava, Mia! The exceedingly talented Ms. Hansen-Løve (the writer-director of Father of My Children) is sure to win many more fans with her latest feature, an incisive, exhilaratingly frank examination of l'amour lost.

This time around, the director documents a 2011 Young solo show in Toronto (the musician's birthplace), but in an intentionally fractured way.

It's McConaughey who is the real revelation: All Grim Reaper strut and cutthroat stare, he savors each of Letts's vividly ghoulish lines.

It is the richly evocative performances of Marion (aggressive yet enticing) and Merhar (wearing world-weariness like an aged suit) that cut deepest.

Wang has made a confidently intimate movie that is devastatingly larger-than-life.

It isn't until the story reaches its fancifully abstract final passages, where cinema displaces music as Douglas's weapon of choice, that Chase's reverie reveals itself as a particularly exceptional exploration of how art ceases being an idle hobby and becomes an obsessive vocation.

Moreover, the story doesn’t climax in all’s-well-that-ends-well matrimony, instead building to a beautifully bittersweet moment of self-realization, one with a light-touch profundity that would make the Bard proud.

Gallo and Dalle are sublimely tragic figures; the scene in which Shane stalks around Notre Dame like Frankenstein unleashed is a pitch-perfect encapsulation of the way the film plays with and deepens movie-monster archetypes.

Spelling may not be Quentin Tarantino’s forte, but his grasp of language (both verbal and visual) is peerless.