Jean-Pierre Melville brings his understated and very cinematic touch to the crime drama “Le Deuxième Souffle”. With a taught and nearly wordless opening sequence of a jailbreak he raises the stakes and establishes the character of Gu (played by Lino Ventura) who wants to get away from his life of crime, but of course it isn’t quite as simple as it seems as one last caper becomes possible. As with every film that I’ve seen by Jean-Pierre Melville, he depicts the processes and operations of the criminal and police world in a fine level of detail that always fascinate me. At times it may seem confusing, but in his patient and detailed way, Melville connects all of the pieces in a complex and human story about an aging criminal and the people around him.

Steve Martin is a funny man, but he takes his comedy quite seriously. In his thoughtful and intellectual autobiography, Born Standing Up he tells his story in the context of being a stand up comedian. Stripping out all but the relevant details, it’s a fascinating look at the formation of a performer who carefully honed an act and persona that seems silly, but is actually a clever deconstruction of the traditional world of stand up comedy. It’s personal and discreet as well as being entertaining and ultimately it’s touching as we get a bit of a glimpse of the man in the white suit with a arrow through his head.

With a powerful (but subtle) performance by Kristin Scott Thomas at the core of the French film, I’ve Loved You So Long we watch a woman who tries to restart her life after 15 years in prison. The details are revealed slowly and carefully in Philippe Claudel’s directorial debut. Most of the film is built around the relationship between the sister who was estranged from the family (Thomas) and her sister who was then raised as an only child. The film moves through situations that don’t seem related and introduce characters in a natural way that paints a complex picture of family, choices that we make and forgiveness.

Laurence Lessig has a keen legal mind and while he’s firmly in favour of sensible copyright and sharing, in Remix he presents that case in a comprehensive and fair way while clearly taking into account all the participants in the creative ecosystem. It’s not “everything should be free” or “everything should be locked down”, but somewhere in the middle. In a reasonable and entertaining way, he sets out a compromise position that should enable everyone to build on the past and be fairly compensated for creative works that they create.

Dustin Hoffman is great as a grad student caught up in a world of intrigue that he hadn’t suspected. John Schlesinger’s taut, paranoid thriller Marathon Man, is filled with twists and great acting as the film adds more information and draws the hero into the story. Taking time to establish the characters before filling in plot details creates a more compelling world that draws you in. It’s great to see an intelligent thriller that balances action, character and plot perfectly.

I’m not really a fan of Hollywood “issue” dramas that take a serious look at things like drug addiction or other topics, but when I saw that Susanne Bier was directing Halle Barry and Benicio del Toro, I was intrigued. In her previous film “After the Wedding”, she told a melodramatic story in a completely compelling and moving way, so this seemed as though it would be a great fit and it was. while many films feel the need to have characters impart important information through dialogue, in Things We Lost in the Fire everything unfolds in a subtle and organic way that gradually lets the audience connect everything together as we get to know characters. The film is filled with moments that are real, painful, awkward and beautiful. The acting, directing, cinematography, editing, and writing all combine to create a character study that shows people as they are, without tidying or simplification.

With the films of Claire Denis describing the plot isn’t the best way to get an idea of what they are about. Much more important than plot are the characters and the settings that they are in. With The Intruder Denis establishes the characters in a leisurely and beautiful way while leaving large gaps in what we see that the viewer needs to fill in for themselves. We’re left to make the connections between what we see and hear in the film and while it never is neatly tied up, it is the beauty of the images and the simplicity of what we see that kept me engrossed in a film that involves characters with mysterious motives, a man needing a heart transplant and the journey that he takes as he searches for a heart and his son.

The less I explain, the better. Laetitia Colombani carefully constructs the film from two distinctive points of view, while counting on the audience to bring their memories of Audrey Tautou’s other characters with them. It’s very precisely constructed with clever twists that change our perception of what we’ve seen previously in the film. It’s almost like a more subjective version of Run, Lola, Run and I throroughly enjoyed He Loves Me, He Loves Me Not.

It’s a love letter to cinema from Olivier Assayas in a beautiful new transfer. While it may not be for everyone, if you’re a fan of the French New Wave, you are in for a treat.

Charlie Kaufman is a distinctive writer of quirky films that usually subvert formal structures and are built around narcissistic characters who lack self-awareness. To say that Synecdoche, New York takes places within Kaufman’s usual territory would be an understatement and in his directorial debut he takes it one step further in a messy, frustrating and fascinating film. Filled with strange images, characters and situations that sometimes make sense and sometimes don’t, it’s one of the most unique films that I’ve seen over the past year. I don’t think that it’s for everyone, but it is so dense and lovingly constructed that I think people will be talking about it for long time.
What kind of strange is it, you may ask? (he asked rhetorically). There are parts that are a bit dreamlike and surreal, but not in the way that David Lynch does it (with Lynch it seems more intuitive). There are parts that are like Jean-Luc Godard (but not as political or ecstatically cinematic). It’s quite neurotic and darkly funny and emotionally brutal at times.
It’s unsettling with complex performances from the cast who have to work within very strange parameters. I don’t think that I’ve seen a film that operates with such a strange sense of time and identity with days or years passing between cuts and the elements blurring the distinctions between places, times and people. Magical surreal images are sprinkled throughout the film with an absurd sense of humour that sometimes is poignant.
This is a unique vision and one that I need to revisit to start to piece together more.