The story is so simple, it hardly exists: a young girl marries a mate aboard a river barge named L'Atalante; she grows bored and frustrated with the dull life that results; when the barge docks in Paris, she runs away, only to discover that she misses her husband. But the power of L'Atalante isn't in its story-it's in the way the camera captures the world in rich, dreamy images, steeping the audience in a viewpoint both innocent and stark. The simplest things are also implacable and confusing. The characters' personalities, and the ways they conflict, have the deep frustrations of real life, and not the easily resolved plot points of most romances. The culmination will leave you aching with happiness and lingering sorrow. Director Jean Vigo-who died of lung disease after completing the film-had an astonishing ability to make the real world translucent; cinematographer Boris Kaufman said, "He used everything around him: the sun, the moon, snow, night. Instead of fighting unfavorable conditions, he made them play a part. " This film is a masterpiece, comparable to Satyajit Ray's Pather Panchali or the movies of Robert Bresson in its ability to be simultaneously effortless and devastatingly complex. -Bret Fetzer.

Jacques Demy's haunting romantic musical is an enchanting, one-of-a-kind musical experience. It's basically a movie operetta, in which the characters sing all the dialogue (or, rather, lyrics-by director Demy) to Michel Legrand's lovely score. The story spans five years (1957-1962) in the life of Geneviéve (the ethereally beautiful Catherine Deneuve in the role that launched her to international stardom), the teenage daughter of a woman who owns a Cherbourg umbrella shop. After Geneviéve's boyfriend Guy (Nino Castelnuovo) is drafted and sent off to Algeria, she discovers she's pregnant. and complications ensue. With its dazzling candy-colored palette, Umbrellas of Cherbourg looks sweet and dreamy. Restored and rereleased in 1995 to rapturous acclaim and the renewed delight of all who got the chance to see it. The video release is taken from the restored version. [+]

Legend has it that Henri-Georges Clouzot beat out Alfred Hitchcock to secure the rights to this novel, which proved to be a veritable blueprint for an icy masterpiece of murder, mystery, and suspense. Véra Clouzot plays the sickly wife of a callous headmaster of a provincial boarding school going to seed, and the commanding Simone Signoret is the headmaster's mistreated mistress. Together they plot and carry out his murder, a brutal drowning that director Clouzot documents in chilly detail, but the corpse disappears, and a nosy detective starts sniffing around the grounds as threatening notes taunt the women. Clouzot's thriller is as precise and accomplished a work as anything in Hitchcock's canon, a film of grueling suspense and startling shocks in an overcast, gray world of decay, but his icy manipulations lack the human dimension and emotional resonance of the master of suspense. The film has been accused of being misanthropic by many critics, and Clouzot's attitude toward his characters is bitter at best, contemptuous at worst. The viewer is left on the outside looking in, but the razor precision and terrifying twists deliver a sleek, bleak spectacle worthy of attention. -Sean Axmaker.

Despite the presence of hack director Arthur Hiller, this hybrid comedy-thriller works most of the time as pleasant faux Hitchcock. Gene Wilder is a book editor who is relaxing by taking a cross-country train ride. Then he gets caught up in a murder-and becomes a suspect. It's up to him to prove his own innocence. As noted, the script, by Colin Higgins, owes a big debt to Alfred Hitchcock; but the mystery isn't all that mysterious and the comedy isn't all that hilarious-at least not until Richard Pryor shows up, which is at least halfway through the film. Things definitely pick up from there. Jill Clayburgh, as the love interest, is merely along for the train ride. Wilder and Pryor eventually teamed up for several other films, but they were never as funny together as they are in this one. -Marshall Fine.

You've probably seen comedies that won't make you laugh as hard as this deadly serious soap opera, drawn from the overheated oeuvre of literary shlockmeister Sidney Sheldon. Marie-France Pisier plays a poor little French girl who is seduced and abandoned and seduced and abandoned during World War II-until she finally figures out that she can profit from her body. She sleeps her way to stardom on the silver screen, then reinvolves herself with an American cad (John Beck) and gets him to kill his lovably obtuse rich wife (Susan Sarandon). You'll be howling. The Other Side of Midnight is a movie that defines the term "unintentionally funny. " -Marshall Fine.