BORDER
GRÄNS
2018, 101 min, Sweden/Denmark, Dir: Ali Abbasi

Co-written by LET THE RIGHT ONE IN scribes John Ajvide Lindqvist and Isabella Eklöf, this incredible film was selected to play in the Un Certain Regard section of Cannes and is sure to explode out of the fall festival circuit. When a border guard (Eva Melander) with a sixth sense for identifying smugglers encounters the first person she cannot prove is guilty, she is forced to confront terrifying revelations about herself and humankind. “An exciting, intelligent mix of romance, Nordic noir, social realism and supernatural horror that defies and subverts genre conventions.” - Alissa Simon, Variety


LE AMICHE
THE GIRLFRIENDS
1955, Janus Films, 104 min, Italy, Dir: Michelangelo Antonioni

This major early achievement by Michelangelo Antonioni bears the first signs of the cinema-changing style for which he would soon be world-famous. This brilliantly observed, fragmentary depiction of modern bourgeois life is conveyed from the perspective of five Turinese women. As four of the friends try to make sense of the suicide attempt of the fifth, they find themselves examining their own troubled romantic lives. With suggestions of the theme of modern alienation and the fastidious visual abstraction that would define such later masterpieces as L'AVVENTURA, Antonioni’s film is a devastating take on doomed love and fraught friendship.


L'ECLISSE
ECLIPSE
1962, Janus Films, 126 min, Italy/France, Dir: Michelangelo Antonioni

The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise (following L'AVVENTURA and LA NOTTE) tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and drifts into a relationship with another (Alain Delon). Using the architecture of Rome as a backdrop for the doomed affair, Antonioni achieves the apotheosis of his style in this return to the theme that preoccupied him the most: the difficulty of connection in an alienating modern world.


Syndicate content