Louis Malle takes his turn at the classic genre of alcoholic and suicidal writer wanders around a large city for a day or so, and really just knocks it out of the park by remembering the key to these tales that so many creators forget: the protagonist is a narcissistic jerk who surrounds himself with narcissistic jerks.

We return to the well of Louis Malle’s films with one that was famously banned in Ohio, so much so that it led to a landmark US Supreme Court case. I think the last movie we saw that led to trials in Ohio was Salo. The Lovers is very much not Salo.

As we enter a holiday season of increased isolation -- please, please let it be a holiday season of increased isolation -- we take a look at a film about a man who spends Christmas failing to connect with old friends, and failing to make new ones who he's not trying to kill or aren't trying to kill him.

We love when we get to watch an unapologetically leftist film, and even better when it's just a very well-crafted movie. Juan Antonio Bardem's Death of a Cyclist swings at the upper class in Franco's Spain with a wildly creative use of cuts and transitions showcasing a nation of dichotomies, and a college professor caught in the middle.

Ang Lee's story of two families trying to make sense of life during the Nixon impeachment came out on the cusp of the Clinton impeachment and maybe this week just has impeachment on my mind because the movie doesn't really have that much to do with either of them.

Hiroshi Teshigahara went on a trip to Spain with his dad and made a short, silent vacation movie during it. Years later, after his father’s death, Teshigahara essentially reshot it, elongated it, and focused it on the Barcelona-area works of architect Antonio Gaudi. It is, arguably, unlike any other movie we’ve seen in the Collection in good and bad ways.