An ode to cinema of the 1950s
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Sudhir Mishra directs Shiney Ahuja and Soha Ali Khan in Bahut Nikle Mere Armaan.
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The film has many an interesting nugget about it.
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We have been fed a staple diet of idealism in cinema, and it's actually nourishing!
551375
A strong ensemble keeps a memory of a rooming-house childhood from slipping into sentimentality
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An itty-bitty movie with a great big heart, âColma: The Musicalâ is about how we learn to give voice â joyfully, honestly, loudly â to the truest parts of ourselves.
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Comment is free: Marina Hyde: TV nostalgia, in the shape of a middle-aged Famous Five, reflects an anxiety that the present is another country.
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Despite occasional detours into sentimentality, this Irish film is better than the usual three-stage journey of courage, heartbreak and redemption.
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âRambo,â directed by and starring Sylvester Stallone, has its own kind of blockheaded poetry.
5224
Wes Andersonâs main characters share with him a passion for collecting rare objects and unusual experiences, all of which they handle with exquisite, jealous care.
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There is plenty of sorrow to be found in âInto the Wild.â But though the filmâs structure may be tragic, its spirit is anything but.
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âAn Affair to Remember,â reissued in a beautifully remastered two-disc 50th-anniversary edition, is one of the best and best-loved films of classical Hollywood.
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A quiz on movie titles inspired from old songs.
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The surfaces of Cao  Hamburger's fine film, "The Year My Parents Went on Vacation"  (O Ano em Que Meus Pais Sairam de Ferias) are clean and concise  and filled with keen observations about day-to-day life in a  multiethnic quarter of Sao Paulo in 1970. This allows the  director all sorts of opportunities to explore the rich subtext  of his film -- themes about alienation, community and a life in  exile.
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âFrÃ¤ulein Maria,â Doug Elkinsâs delightful, wink-filled ode to âThe Sound of Music,â is heavenly to watch.
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I met an old friend for coffee in San Francisco yesterday afternoon, and had a few hours to kill before stopping in at the Wired reunion party. I didn't want to drive back to Berkeley because the weather was so crummy, and I was just across teh street from a movie theater and was just in time for the start of a movie that lots of people had been telling me to see. So I went. The movie -- The Diving Bell and the Butterfly, I had no idea what it was about until the movie started, then I remembered hearing a Fresh Air show about it and finding it too painful to listen to. Now here I was in the theater, not just being asked to listen to it, but being asked to live it. Through some very wonderful film-making, you feel as if what is happening to the main character is happening to you. Or more accurately, probably, you get the slightest hint of what it's like to be this person. My immediate impulse, one which I gave serious consideration to, was to pack up my things and leave. Anything would be better than spending three hours living this guy's life.  Two things happen over time: 1. You get over it. 2. They change perspective, and instead of being inside his body, you move outside it.  I think those two things are the story we all live as we mature and learn to live inside our own bodies, with their limits. You learn to step outside and see the humor in your predicament. The main character says he lives in a diving bell because it's as hard for him to communicate with other people as it would be at the bottom of the ocean inside a diving bell. The movie teaches that it's not much easier for the rest of us, even though we can manipulate symbols better. On the other hand, of course it is. The film develops a relationship between the hero and his father, between the hero and his own children, his ex-wife, his lover.  We strive for deeper understanding of ourselves and each other. But it may be ridiculously easy to find the only meaning that exists, without language, without intellect, by just being. The Diving Bell and the Butterfly should probably be the picture of the year for 2007, it's that good. But like all great art it shows you something truthful about yourself, and you may or may not want to see it.
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A fantastically grotesque retrospective of an influential-yet-overlooked filmmaker. By Jason Silverman.
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Choi Dong Hoon directs a terrific film about the sensual energy and reckless optimism of youth.