In his adaptation of the Tristan and Isolde legend, Jean Cocteau modernizes its eternal theme while making his mark as a master of poetic realism. The tragic story of a young man who falls hopelessly in love with his uncle's wife conjures both beauty and agony through intense dramatic performances, romantic Wagnerian music, and imaginative settings.

Shot entirely in the Salento region of Italy, Edoardo Winspeare's radiant first feature, Pizzicata, is beautiful, seductive, moving and absolutely authentic - a love song to the culture and people of the director's native land. Summer 1943. And American fighter plane is shot down over southern Italy. A young girl discovers the one survivor of the crash. Her father and older sisters take him home and hide him from the authorities. Tony, the young Italian-American pilot, falls in love with this harsh and beautiful country and with Cosima, one of the lovely sisters. Their bittersweet romance unfolds to the sensual and haunting strains of the pizzica, the native courtship dance. The film is alive with the faces, songs, dances and traditions of the sun-drenched Salentino peninsula.

Marking an assured directorial debut for actor John Malkovich, The Dancer Upstairs is a tense, nerve-jangling political thriller that values adult storytelling and emotional depth over cheap thrills. It's a challenge for those accustomed to the frantic pace of Hollywood thrillers, but attentive viewers will be richly rewarded by Malkovich's slow-burn approach to the film's terrorist plot, adapted by Nicholas Shakespeare from his own novel, based on the "Shining Path" movement that terrorized Peru in the 1980s. The plot unfolds in an unnamed Latin American capital, where a lawyer-turned-police detective named Rejas (Javier Bardem) leads an investigation to locate Ezequiel, a terrorist whose followers have left a trail of fear, death and destruction across the city. Rejas falls in love with his daughter's ballet teacher (Laura Morante), but the film's ultimate revelation-a coincidence that Malkovich handles with credible delicacy-throws this simmering drama into stark relief, bringing Bardem's character (and his subtle performance) to a greater awareness of his own personal and political humanity. -Jeff Shannon.

This early Max Ophüls melodrama became his first big success. A young philandering army officer, trapped in a loveless affair with the wife of a strutting baron, falls in love with a shy young seamstress but cannot escape repercussions of his past. As the giddy lovers frolic through an idyllic romance (a lovely sleigh ride through the snow-covered forest becomes a swooning expression of their emotional innocence), the suspicious baron demands honor be served. Based on a play by Arthur Schnitzler (whose Reigen Ophüls later adapted for La Ronde), Liebelei contrasts the obsession with appearances and social decorum of high society with the rash sincerity and energy of youth in a style more visual than verbal. The restless camera of Ophüls's later work is only hinted at here, but the handsome photography and lush décor create a constrictive world where tradition rules. The opening opera house scene is especially striking, where character and class become defined simultaneously, and the haunting climax is so effective that Ophüls revived and refined it for The Earrings of Madame de. The 1933 production was subsequently suppressed by the Nazis for its jaundiced view of honor and Prussian authoritarianism, and they attempted to destroy all copies of the film. [+]

Sally Potter's self-reflective film stars Potter (an actress and the director of Orlando), more or less as herself, learning to tango from master dancer Pablo Veron and considering making a film called The Tango Lesson. The film that we happen to be watching, however, is concerned largely with the delicious conflict between the politics of tango-the need for one partner, typically the woman, to yield to the other-and the expectations of the filmmaker to do things on her own terms. Can Potter simultaneously surrender and control for the duration of this circular project? The question is made more complicated by Veron's desire to be in one of Potter's films-in other words, to follow her lead. Potter may not be Veron's equal on the dance floor, but that isn't the point of this interesting movie and its provocative, internal debate. -Tom Keogh.

Made in 1964, this Satyajit Ray period piece is set in a Calcutta about to enter the last decade of the 19th century. Madhabi Muherjee, who also had the leading role in Ray's The Big City (1963), portrays a bored and neglected housewife whose husband, Bhupati (Sailen Mukherjee), is spurred by his passion for his political newspaper, The Sentinel, and not by his passion for her. Bhupati is not a bad man, just a distracted one, and in an effort to appease his guilt, he asks his young and very handsome cousin, Amal (Soumitra Chatterjee) to encourage Charulata in her writing. After all, she is an intelligent woman and such an undertaking will keep her occupied. But he tells Amal not to let Charulata know of his mission. Over the course of time the inevitable happens and the two fall in love, never revealing their feelings to each other. Bhupati finds out accidentally how his wife feels and is crushed. This isn't his only problem. Another relative, the bookkeeper at Bhupati's paper, embezzles money and compromises The Sentinel's chances for success. Ray manages to create a highly charged atmosphere of restrained yet innocent lust. [+]

Would you believe the most enchanting musical of the year is an almost four-hour-long epic about a ragtag group of 19th-century Indian farmers who form a cricket team to take on an arrogant British captain? The old-fashioned Hollywood musical is alive and well in India's Bollywood industry, where the joyful explosion of music and dance and innocent romance abounds in sweeping epics. In this infectious tale of bloodless revolution, the underdog outcasts and oddballs of a fractured village pull together into a unified team to take on the oppressive colonial Brits at their own game. Think The Longest Yard meets The Seven Samurai by way of Rudyard Kipling, with cricket bats, choreographed dance numbers, romantic triangles, and a rousing call to solidarity. There are no surprises, but what spirit, what color, what good fun! -Sean Axmaker.