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Men, Women & Children

A potentially interesting premise is handled so badly that what might have been a provocative drama quickly and irrevocably devolves into the technological equivalent of…

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Time Is Illmatic

An excellent documentary that focuses more on why the Illmatic album came to be than how successful it became. Prepare to be schooled in many…

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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Great Movie: "Cleo from 5 to 7"

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In France, the afternoon hours from five to seven are known as the hours when lovers meet. On this afternoon, nothing could be further from Cleo's mind than sex. She is counting out the minutes until she learns the results from tests she believes will tell her she is dying from cancer. Agnes Varda's "Cleo from 5 to 7" is 90 minutes long, but its clock seems to tick along with Cleo's.

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Saint Agnes of Montparnasse

Dear Agnes Varda. She is a great director and a beautiful, lovable and wise woman, through and through. It is not enough that she made some of the first films of the French New Wave. That she was the Muse for Jacques Demy. That she is a famed photographer and installation artist. That she directed the first appearances on film of Gerard Depardieu, Phillipe Noiret--and Harrison Ford! Or that after gaining distinction as a director of fiction, she showed herself equally gifted as a director of documentaries. And that she still lives, as she has since the 1950s, in the rooms opening off each side of a once-ruined Paris courtyard, each room a separate domain.

That is not enough, because her greatest triumph is her life itself. She comes walking toward us on the sand in the first shot of "The Beaches of Agnes," describing herself as "a little old lady, pleasantly plump." Well, she isn't tall. But somehow she isn't old. She made this film in her 80th year, and she looks remarkably similar to 1967, when she brought a film to the Chicago Film Festival. Or the night I had dinner with her, Jacques and Pauline Kael at Cannes 1976. Or when she was at Montreal 1988. Or the sun-blessed afternoon when we three had lunch in their courtyard in 1990. Or when she was on the jury at Cannes 2005.

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