Two films. Both set in a black-and-white Paris. One was released in 1962, the other in 1963. The first has a woman as its protagonist, not just a woman, but a Woman: almost mythical, untouchable, elusive: Cléo, short for Cleopatra. The other has a man as its protagonist, Alain; a marked face, dark eyes, an inward-looking energy. Everyone looks at her. Everywhere he goes, he is told how handsome he used to be.

Eric Rohmer’s Six Moral Tales revolve around male-female dynamics and everything that comes with them—eroticism, love, friendship, religion,

In the last of his six Moral Tales, Rohmer seamlessly weaves together all the themes he has explored, raising the stakes higher and making t

After Dunkirk, after Saving Private Ryan, even after 1917, Apocalypse Now, or Full Metal Jacket, I dream—or something in me does—of taking p

At first glance, The Brutalist appears to be a profound film with a lot to say. However, much like its predecessor The Zone of Interest—from

A small film of masterful proportions. About the divorced Olivier, the woodworker, who helps teenagers learn a trade,