Gary Indiana

Luis Buñuel lays bare the amorality and illogic of human affairs in the slew of straight-faced absurdities that make up his penultimate film.

Jean Luc Godard’s exuberant, multipronged attack on the bourgeoisie is both theater of the absurd and political horror.

The spectacle of joyless lubricity and dehumanizing cruelty and carnage visualized by Pier Paolo Pasolini could not be further from the dry, dense, and circular arguments to be found in the printed pages of his bibliographic sources.

This unforgettable drama about damaged adolescents combines Jean Cocteau’s penchant for mythic poetry and Jean-Pierre Melville's knack for crafting intricate schemes.

In his unpredictable daily encounters with the gorilla Koko and her teacher, Barbet Schroeder foregrounds the quiddity of Koko’s situation in episodic fashion.

Indefatigably productive, ingenious, exasperating, narcissistically didactic, slyly self-promoting, abject, generous, exploitative, devoted to the wretched of the earth with honest fervor and deluded romanticism: Pier Paolo Pasolini can easily exhaus