LOST HIGHWAY
1997, Focus Features, 135 min, France, USA, Dir: David Lynch

Did jazzman Fred Madison (Bill Pullman) murder his wife? Drawing on many of noir’s most familiar themes - the crumbling of a guilty psyche, the distrust between men and women, the erotic allure of the dark side - LOST HIGHWAY brazenly deconstructs a noir narrative and reconfigures it all as balls-to-the-wall cinematic poetry. With Patricia Arquette, Balthazar Getty.


SON OF SAUL
SAUL FIA
2015, Sony Pictures Classics, 107 min, Hungary, Dir: László Nemes

As a concentration camp Sonderkommando, Saul (Géza Röhrig, mesmerizing here) has grown numb to the sight of murder on an industrial scale; he is living on borrowed time himself. But when he sees a boy who miraculously survived the gas chamber only to be smothered by the camp doctor, Saul makes a decision – this child will get a proper Jewish burial, no matter what. With an unrelenting focus on its central character, SON OF SAUL stands as one of the most stunning Holocaust dramas ever made. The Grand Prix winner at the 2015 Cannes Film Festival. In Hungarian, Yiddish, German and Polish with English subtitles.


FARGO
1996, Park Circus/MGM, 98 min, USA, UK, Dir: Joel Coen, Ethan Coen

One of Joel and Ethan Coen’s most acclaimed films (they won Oscars for their screenplay and Frances McDormand got one for Best Actress). Cool, calm, collected (and pregnant!) policewoman Marge (McDormand) tracks the kidnappers of a used car salesman’s wife in North Dakota’s snow-covered wasteland. Salesman Jerry’s (William H. Macy) inept plot to get out of debt by staging the hoax unravels in gory fashion when his two bizarrely mismatched henchmen (Steve Buscemi and Peter Stormare) have a falling out. That hulking Stormare’s nonchalant, bloodcurdling use of a woodchipper at the climax emerges as both chilling and hilarious testifies to the Coen’s complete mastery of tone in the filmmaking process. “…an illuminating amalgam of emotion and thought. It glimpses into the heart of man and unearths a blackly comic nature, hellishly mercurial and selfish, yet strangely innocent. If it weren't so funny, it would be unbearably disturbing.” – Arnold Wayne Jones, The Dallas Observer; “A crime gem that is darkly funny even when it's chilling -- and certain to become a classic.” – Peter Stack, The San Francisco Chronicle.


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