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You’ve probably heard the old cliché like question, “Did the people who lived in the Dark Ages know they lived in the Dark Ages? It is not a bad interrogative. Heck, what will they call the age we live in? Don’t know myself, I’m still trying to answer the musical question, “Who wrote the book of love?”

But I digress. The point is, in the movie, The Romance of Astrea and Celadon, all seems positive and hardly the dark ages. Fifth Century Gaul appears a pastoral paradise. Not like the historical accounts of a society breaking apart due to barbarian invasions. So what’s going on?

For all the characters in the movie, Life and Nothing But (La Vie et rien d’autre), the baggage of war is carried years after. Life and Nothing But is the story of a French Major assigned the happy task of retrieving and identifying the dead in a tunnel that had been mined by the retreating “Huns.” They blew it up as a train had been passing through.

Fairly straightforward plot lines. Major Dellaplane not only has to deal with the bodies, but with the military bureaucracy above him. He is competent in his work of matching names to corpses. The brass wants him to find one that can be the French “Unknown Soldier” to fulfill a patriotic ritual.

This one’s tough even by Godard’s standards. He’s never been Hawks, but 1967’s La Chinoise makes Breathless look like Casablanca. Godard even pulls a neat trick; while satirizing the radicalism of the characters contained herein, he manages to enter the ranks of the “filmic radicals” by forsaking conventional narrative structure in favor of fragmented dialogues.

The movie opens with three threads, introducing the three protagonists respectively, which lead to their encounters and then follows them through their relations gradually taking shape through these encounters. The encounter of the three turns out to be a life-changing experience, as each is forced - in a friendly way - to confront his/her own secret.

A blend of fiction, mocumentary, and documentary by the Chinese avant-garde queer director/screenwriter Cui Zi’en. Like two of Cui’s previous works, Feeding Boys, Ayaya and Old Testament, Night Scene focuses on the condition of male prostitutes in contemporary Beijing. Unlike previous times, however, Cui offers us less fiction and theoretical rumination but much more realistic documentation - even if he sometimes tries to disrupt that very realism.

From the opening moments of the film, as the camera moves across the barren winter landscape, Winter Lily creates a desolate world which nonetheless draws viewers into its cold embrace. Canadian filmmaker Roshell Bisset uses Winter Lily to explore some bizarre and disturbing themes, using a beautiful setting and talented cinematography to contrast these sometimes off putting themes.

Capturing the power of love is surely one of film’s most simple and yet most difficult callings. Even after years of attempts, many romances fall short of reaching any real truth and instead aren’t much more than a cinematic pillow for tired minds. Roberto Benigni’s The Tiger and The Snow strives to be more. The [...]

Time has to do with bodily alteration, yet its main concern is not the phenomenology of aesthetic difference as is the case with The Shape of Things. Time has to do with identity crisis following from bodily alteration, yet not in the generic tradition of body-swap films such as 18 Again or Face/Off.