This week we return to the Shohei Imamura’s “Pigs, Pimps, and Prostitutes” collection with his “entomological study” of one woman’s lifelong struggle for survival and purpose in a cruel modern world.  Style, ambiguity, and shock mark this as a classic Imamura story.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Jean-Luc Godard’s Breathless (1960).

Legendary 1980s/90s Hong Kong/Hollywood action auteur John Woo sets an early pace for his legendary career with a period-kung fu movie about two swordsman-buddies caught in the midst of a bloody revenge plot between warring clans.  Spoiler alert: there's a martial arts master whose style is "asleep."

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Shohei Imamura's The Insect Woman (1963).

From the clanky jangle of that first Tom Waits song to that jangly clank of the last Tom Waits song, you know you are in for a treat.  Jim Jarmusch pops back up on the show with his humanist anthology of five stories set in cabs, each taking place in a different city on the same night.  Winona, Gena, Giancarlo, Armin, Rosie, Isaach, uh.. Beatrice, Roberto, and … Matti?  Look he went truly international with his cast, so I can’t name them all off the top of my head.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing John Woo’s Last Hurrah for Chivalry (1991).

Cat, piano, well, watermelon, mirror, bananas.  You know, you're basic horror movie formula.  Director Nobuhiko Obayashi spins a eerily formulaic but wildly unanticipate-able story of teens.  And death.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Jim Jarmusch's Night On Earth (1991).

What says “Merry Christmas” more than a sexy tale of infidelity and alienation set against the backdrop of soviet invasion and oppression?  In the Criterion Collection?  Not much. Join us as we discuss Phillip Kaufman’s adaptation of Milan Kundera’s novel of Prague Spring and its aftermath, starring some distractingly beautiful people.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Nobuhiko Obayashi’s House (1977).

It’s Orson Welles! It’s Shakespeare! Everyone involved is at the top of their game! Filmed across continents on location! It was a labor of love 3 years in the making!  Yep. No problems here. None at all. No need to investigate further…

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Phillip Kaufman’s The Unbearable Lightness of Being (1988).

Albert & Allen Hughes take a stab at the classic tale of the American twentieth century with a star-studded cast and a sweeping narrative starting in the Bronx of 1968, the bloody jungles of Vietnam, back to a changed America, and then… an iconic 90s heist scene?

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Orson Welles’ Othello (1952).

David Lynch’s follow-up to one of the most disturbing and lovingly crafted pieces of auteur cinema ever made is… an Oscar-bait biopic? Sure: he brazenly assaults Victorian (and maybe even a few modern) sensibilities by frankly visualizing the appearance and living conditions of a young man cast from polite society. And, yeah-yeah, who are the REAL monsters, amiright? But more that this, Lynch taps into is own dark dreamscape, to poke at the less obvious, but deeply felt, horrors of the industrial age.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Albert & Allen Hughes Dead Presidents (1995).

This week, it’s Moonstruck.  Thank God: it’s Moonstruck.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing David Lynch’s The Elephant Man(1980).

If you throw everything at the wall (romance, screwball comedy, noir thriller, globe-trotting action) you will ALMOST predict one of the great disasters of the twentieth century.  This coincidence is inevitably repeated a ton on the IMDb trivia page. But spare yourself from being spoiled and just watch Frank Borzage’s charming tale of star-crossed lovers set against a backdrop of 1930s Hollywood glamour.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Norman Jewison’s Moonstruck (1987).