Like everything else, the secret of a good wine is in the timing: the timing of the grape-picking, the fermentation, the breathing. And the timing is just right in Autumn Tale, a luminous story set in the winemaking country of France; director Eric Rohmer, in his late 70s when the film was made, clearly waited until this particular bottle had reached the proper maturity. At the center of the film is the friendship between two gracefully middle-aged women: Vineyard owner Magali (Beatrice Romand, star of the previous Rohmer gems Claire's Knee and Le Beau Mariage), blunt and compact, is currently unattached. Isabelle (Marie Rivière, from Summer), willowy and slightly ditzy, is married-and would like to see Magali happily wed. A matchmaking scheme via the personal ads leads to a gentle, amusing, yet increasingly profound romantic confusion. At first glance, the film may seem like sun-dappled simplicity itself, but stick around for the final moments at the very tail of the end credits, and you'll appreciate the wise mingling of longing, satisfaction, and regret that have been percolating through the movie all along. Rohmer likes to make films in groups (the "Six Moral Tales" launched him onto the international film stage in the 1960s), and Autumn Tale rounds off a set devoted to the four seasons. The other films in the quartet are worthy enough, and Rohmer has the kind of adornment-free clarity that many great artists develop after a lifetime's worth of craft, but Autumn Tale is the best of the bunch: a warm, quiet masterpiece. -Robert Horton.

It's hard to believe that this fantastical tale of a schoolboy rebellion was banned in its native France for 12 years following its initial 1933 release (for supposed anti-French sentiment). Perhaps the French authorities were remembering director Jean Vigo's father, a famous French anarchist who died in prison, or just concerned that Vigo was revealing too much of his own unhappy youth spent in boarding schools. They needn't have worried. Zero in Conduct is much more a childhood fantasy than a social critique, focusing on three particularly naughty boys who are constantly being threatened with a "zero in conduct" for their bad behavior. The rebellion in question is no armed revolt but a raucous pillow fight and a few stones thrown from a roof, all to the chant "Down with teachers, down with school. " Filmed in magical black and white by Boris Kaufman-winner of the Academy Award for cinematography in 1954 for On the Waterfront (and brother of filmmakers Mikhail Kaufman and Dziga Vertov)-Zero in Conduct is a film for film lovers. Jean Vigo died in 1935, when he was 29 years old, leaving behind only three films. But his influence, strongly evident here in the surrealism and fascinating early special effects (including a drawing that springs to life on the page), long outlives him. Each year a filmmaker with "independence of spirit and quality of directing" is honored with the French award in his name. -Laska Jimsen High-Definition transfer, with new electronic subtitles. [+]

This late entry in Italian horror auteur Mario Bava's catalog is in keeping with much of his other work: a rather murky plot, inventive camera work and editing, gauzy lighting using red and blue gels, and an atmospheric, dreamlike feel throughout. Where it parts ways with many of his films is in the high body count-so high that many feel Bay of Blood was a likely influence on American slasher films such as Friday the l3th. The killing centers on a list of potential heirs to a piece of lakefront property ripe for development (a subplot involves camping teenagers who are also being slaughtered-sound familiar?). The slayings come fast and furious, with gunshots, chokings, stabbings, decapitations, and a two-for-the-price-of-one impalement, to name a few. Bava creates an off-kilter mood of melancholia for the film that makes it somewhat less fun than the mindless slasher flicks of the 1980s, but also renders it a more thought-provoking, cynical sort of movie. -Jerry Renshaw.

The third of Eric Rohmer's Four Seasons romances follows the indecision of a young man who juggles three women during his final summer between school and work. Drifting along the beaches of Brittany while waiting for his commitment-shy girlfriend, Lena, to meet him, Gaspard (Melvil Poupaud of Diary of a Seducer) becomes fast friends with pretty waitress Margot (Amanda Langlet, the grown-up Pauline of Pauline at the Beach a decade earlier) and has a fling with Margot's aggressive and sexy friend Solene before Lena finally shows. By then, Gaspard has inadvertently committed himself to all three women. It's a lovely portrait of awkwardness and ambivalence set against the gorgeous land and seascape of Brittany, and populated by pretty young performers. This, the most understated of Rohmer's sex farces, carries a bittersweet sting, but little of the emotional effervescence of his best films. While these characters are no less pretentious or vulnerable than his other lovers (who all seem to be emotionally at sea), Rohmer just skims the surface of their emotional revelation. His greatest achievement is the evocation of young adults caught between their teens and 20s, with little real experience but full of easily sidelined ideals. In the best Rohmer tradition, the circular conversations and solipsistic monologues are neither glib nor pretentious, merely the immature but sincere ramblings of vulnerable youth playing adult games. -Sean Axmaker.

The story of an English family emigrating to Austrailia.

Producer Gabriel Pascal brought the undiluted wit and wisdom of Bernard Shaw to world cinemas, and the world is grateful. But for all Shaw's philosophical irreverence and bracing ironies, as a screenwriter he had a lot to learn about structure and movement. Major Barbara made the transition to film less fluidly than Pygmalion (1938). Production took a year and a half. Pascal made himself director but left the real work to assistants Harold French (acting) and David Lean (visuals). The initial designer and cameraman had to be replaced, one actor died (Donald Calthrop), and oh yes, there were German air raids. Still, what a dream cast: Wendy Hiller as Salvation Army crusader Barbara; Robert Morley as her arch-fiend millionaire father Undershaft, preaching the gospel of money and munitions; Rex Harrison as Barbara's classics-professor suitor, Adolphus Cusins; plus Robert Newton, Emlyn Williams, Marie Lohr, and 18-year-old Deborah Kerr as sweet Jenny Hill. -Richard T. Jameson Laced with ironic humor and social satire, this well-known classic film is the story of Barbara Undershaft, daughter of a wealthy munitions manufacturer and an ardent member of the Salvation Army. Filmed in war-torn England, Gabriel Pascal's screen translation of George Bernard Shaw's play is brilliantly directed and magnificently acted.

USA VHS Release of German Exploitation Film Dubbed English - Color 63mins.

The Oscar®-nominated film Tristana continues a devastating critique of social convention by director Luis Buñuel (Belle de Jour, That Obscure Object of Desire). Beautifully photographed in Toledo, Spain, the story is splendidly acted by Catherine Deneuve (The Last Metro, Belle de Jour) and Fernando Rey (The French Connection), in perhaps their finest roles. Rey is Don Lope, a liberated but hypocritical aristocrat who seduces his beautiful young ward, Tristana (Deneuve). Given the opportunity, she flees with her lover (Franco Nero, Camelot), but illness forces her to return and, later, marry Don Lope. The result is a tense union in which Tristana slowly gains the upper hand.