Sixty years later, George Stevens’s intimate epic Giant still seems like a wondrous anomaly: sweeping saga of American prosperity that reveals its racist underbelly; glorious star vehicle that upends rigid gender roles; modern Western that questions the validity of frontier land ownership.
Savor the delectable comedy Tampopo on a full stomach. Juzo Itami’s 1985 paean to the fastidious preparation and blissful consumption of food can still be enjoyed solely as a satisfying feast, but it’s also a biting satire of Japanese culture and its uneasy incorporation of Western influences.
In this fervent adaptation of Federico García Lorca’s 1933 play Blood Wedding, Spanish director Paula Ortiz has shifted the focus of her source material from men battling to possess a woman to, as the title indicates, the bride herself.
The Tyrolean Western Autumn Blood embraces its contradictions. Beautiful and brutal, sparse and lush, primal and modern, Markus Blunder’s debut feature hovers between the allegorical and the literal.
There’s a comforting inevitability to The Magic of Belle Isle, as an alcoholic author spends a soothing, rejuvenating summer in a sleepy lakeside village. (It was filmed at Greenwood Lake in New York, not Detroit’s historic island park.) The wheelchair-bound Monte Wildhorn (Morgan Freeman) wrote