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  • Paris s'en va

    Paris s'en va

    ★★★

    Sort of the “Spectre” or “Divertimento” version of “Le Pont du Nord.” Jacques Rivette made this 30-minute version of his ninth feature to fulfill a financing obligation, using outtakes and unused footage from the production. Like Rivette’s other cinematic compressions, “Paris s’en va” is as much an alternate take of “Le Pont du Nord" as it is an abridgment. The film begins in medias res, with Marie (Bulle Ogier) and Baptiste (Pascale Ogier) asleep together on a bench. With little…

  • Celine and Julie Go Boating

    Celine and Julie Go Boating

    ★★★★★

    Jacques Rivette’s most popular film is a gently surreal, 193-minute fantasia about feminism, friendship, and the relationship between the audience, art, and performance. Librarian Julie (Dominique Labourier) is sitting in a park, reading a book about magic and drawing a symbol in the sand with her foot, when burlesque magician Céline (Juliet Berto) flounces by wearing a feather boa, as if Julie had conjured her. Julie — the Alice to Céline’s anarchic white rabbit — follows Céline, and the two…

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  • The Texas Chain Saw Massacre

    The Texas Chain Saw Massacre

    ★★★★★

    A nerve-shredding work of dread about economic anxiety-induced violence, the poison of tribes and kin, and how the pernicious past can destroy the future. Five teenagers stumble upon a house of horrors in "The Texas Chain Saw Massacre," and while their resulting ordeal results in one of the most terrifying films ever made, Tobe Hooper deploys that terror as a means toward exploring sociopolitical issues of the era. It's the 1970s gas crisis that forces Sally (Marilyn Burns), her wheelchair-bound…

  • Tetsuo: The Iron Man

    Tetsuo: The Iron Man

    ★★★★

    An impressively deranged and frenzied fusion of "Eraserhead's" surreal industrial dread and David Cronenberg's body horror. A "metal fetishist" attempts to put a piece of rebar in his leg and then, seeing the wound infected with maggots, runs into the street, where he's hit by a car. The metal fetishist avenges himself by causing the offending driver to grotesquely grow metal from his body, before returning as a kind of supervillain. Director Shinya Tsukamoto touches upon themes of dehumanization and…