Red, White & Blue

When was the last time you watched a movie that got so intense you had to look away, not because of some gratuitously graphic gore, but because of the sheer intensity of the story? Don’t be surprised if you find yourself covering you eyes at the climax of this dark story of how three lives intersect with devastating results. The acting, particularly from Noah Taylor as a troubled Iraq war veteran and Amanda Fuller as a promiscuous young woman with an agenda, is mesmerizing. Giving away the twists and turns that writer/director Simon Rumley takes you through would spoil the fun (and the fear): see it for yourself.

Araya

In 1959, documentarian Margot Benacerraf traveled a tiny island in northeastern Venezuela to photograph the lives of a people whose entire lives for generations have been controlled by the salt they mine from the surrounding marshes. The result, largely unknown in the US outside critic’s circles, is a complex and beautiful story. depending more on images than actual story, the film shows us the daily routine of the people, a routine that for them barely changes in the minutest detail from day to day or year to year. The only variation in their lives comes from nature, the cruel mistress of the island who can be their friend (such as when the fishing nets are full) or their greatest enemy.

Brian Eno: 1971-1977: The Man Who Fell To Earth

Fans of the eclectic musician called Eno — whether they first discovered him as the musical manipulator in Roxy Music, from his groundbreaking solo albums, or from his work as a producer of some of the most influential music from the past 30 years — maybe the target audience for this fascinating documentary, but even those who have never heard of him will spend an enjoyable 2 1/2 hours learning about Eno. Better yet, it will inspire them to go out and get some Eno music of their own so they can start the sonic adventure for themselves

Diabolique

Warning: if you have never seen this classic thriller from Henri-Georges Clouzot before do not play the bonus feature video introduction of the film before you do. It will only spoil the fun of experiencing the film for the first time. (Be sure to watch it later because it does a great job of not only explaining why the film is a classic but why its been so influential to filmmakers over the years.)If you are  familiar with the tale of two women plotting to get revenge on the man they share, then settle back and enjoy this beautifully restored version of the 1955 film. The acting is superb, especially from Simone Signoret as the mistress and Vera Couzot as the long- suffering wife, but it is the intricate way that the director blends imagery and dialogue to plot the story that hooks you to the surprise waiting for you at the end.

Glenn Tilbrook and the Fluffers

The people lucky enough to attend this intimate show at the Canal Room in New York City are packed in so tightly that it’s a mystery how the cameramen moved around as much as they do to capture Tilbrook and his band as they race through as set of original numbers and songs from the Squeeze catalogue. The energy between the band and the fans, an older crowd who know every word that Tilbrooks sings and are happy to sing along, is infections even through the TV screen. By the time the band hops up on the bar for a sweaty acoustic encore, you’ll be singing along, too.

Pale Flower

Ryô Ikebe is the epitome of cool in this black and white crime thriller from director Masahiro Shinoda. He plays a gangster named Muraki fresh out of prison after three years served for killing a rival gang member. Uncertain whether he wants to get back into the life that sent him to prison, Muraki spends his nights in smoky illegal gambling, more for the thrill of the game than for the money he wins. One night he meets a mysterious beauty (Mariko Kaga) with a hunger for thrills that matches his own. When the boss approaches Muraki with a job that could send him back to prison – or to an early grave — he accepts it and takes the woman along for the ride.

Revenge

While most samurai filmmakers seem more interested in filling the story with fight scenes no matter what the plot, director Tadashi Imai takes a very different approach in this 1964 classic. Instead of concentrating on the fighting, he focuses instead on the reasons the fights take place in the first place, weaving his way through the political intricacies of Feudal Japan with both style and substance. It’s fascinating, up to a point. While the fights may not be the focus of the film, the fact that they are shot so poorly is a disappointment when they finally do arrive.