An unabashed exercise in cinema stylistics, I Am Cuba is pro-Castro/anti-Batista rhetoric dressed up in the finest clothes. The film`s four dramatic stories take place in the final days of the Batista regime; the first two illustrate the ills that led to the revolution, the third and fourth the call to arms which cut across social and economic lines. A lovely young woman in a nightclub frequented by crass American businessmen takes a customer to her modest seaside shack for a night of pleasure for pay, only to be found out by her street vendor suitor; a tenant farmer is told that his crop has been sold to United Fruit and in frustration burns his fields; a middle-class student rallies his pals and workers in a street demonstration against the regime; a peasant eking out a living in the mountains quickly converts to the cause when Batista bombers strafe his land in search of rebel fighters. At face value, this is all obvious agitprop, but director Mikhail Kalazatov turned his cinematographer, Sergei Urusevsky, loose, and the result is a procession of dazzling black-and-white images, shot with a camera that is almost always moving and soaring over the sugar fields, swooping in and out of urban buildings, following characters down narrow streets. Unreleasable to American theaters during the Cold War, I Am Cuba, through the auspices of filmmakers Francis Ford Coppola and Martin Scorsese, got a belated U.S. release in 1995 and has proved to be both a time capsule of a fading political movement and a timeless work of cinematic art. — Tom Wiener

One of the most popular and controversial films in Swedish history, I Am Curious brought the sexual revolution to Sweden`s silver screen. While much of the media hype centered on the film`s scandalous content, the film`s blending of documentary and fictional footage was equally shocking for Swedish audiences. Content-wise, the film`s more controversial parts include the defacement of a photograph of Franco and a sequence where a young couple has sex in front of the royal palace. A film in two parts, Yellow and Blue each have essentially the same vague outline of a plot. Lena and her boyfriend engage in lots of liberated sexual play — that`s the fiction. At the same time, they are working on a documentary, which is real. In the documentary footage, they investigate Sweden`s political history, the state of its democracy, and the everyday lives of its citizens. In the Blue version, Lena journeys far into the deserted north, filming the beautiful wilderness and revealing a decidedly unmodern Sweden. Blue`s most significant departure from the first part is in this exploration of Sweden`s pastoral ideal. — Brian Whitener

Vilgot Sjoman`s film, an account of a female sociologist undertaking a sex survey, was a huge scandal in its day thanks to its frontal nudity and frank portrayal of sexual issues. — Jason Ankeny

A man searching for the truth about his brother finds out more than he ever expected to learn in this semi-improvised independent drama. Abe Polonski (Richard Edson) works in his family`s textile business alongside his brothers Ben (Jeff Ware) and Josh (Arnold Barkus). One day, Josh is shot to death while leaving the shop with Abe; while Ben warns him to stay out of it, Abe is determined to find out who killed his brother and why. The deeper Abe digs into his brother`s life, though, the more unpleasant surprises he finds; it seems that Josh was involved in some serious financial double-dealings, and Jill (Meg Hartig), the woman he had been dating, is a prostitute. Abe talks to Jill, hoping to find out what his brother was trying to do, and he soon finds himself falling in love with her. Abe is determined to save Jill from a life on the streets, but he finds out the hard way that her pimp isn`t willing to let her go. I Am Josh Polonsky`s Brother was shot in 15 days, using Super-8 film stock, and with much of the dialogue improvised on the spot by the cast; the film was the second feature for Raphael Nadjari, who also worked with Richard Edson on his first feature, The Shade. — Mark Deming

Sean Penn stars in this drama as Sam Dawson, a developmentally disabled adult who has been working at a coffee shop and raising his daughter Lucy (Dakota Fanning) for seven years. Sam receives help in his parenting duties from a circle of trusted confidantes, including his ADD-afflicted best friend Ifty (Doug Hutchison), the paranoid Robert (Stanley DeSantis), an agoraphobic neighbor (Dianne Wiest), and his other disabled pals, Brad and Joe (played by real-life developmentally challenged actors Brad Silverman and Joseph Rosenberg). Although he provides a structured and loving environment for Lucy that includes regular visits to IHOP, video nights, and karaoke, Sam`s daughter is beginning to surpass him in mental acuity. When Lucy begins intentionally stunting her own growth so as not to hurt her beloved father, social worker Margaret (Loretta Devine) takes action, removing the girl from her home and placing her in the temporary care of a foster mother, Randy (Laura Dern). As the day of his hearing looms, Sam seeks out the aid of driven, obsessive lawyer Rita Harrison (Michelle Pfeiffer), who takes the case only to prove to her colleagues that she is willing to accept pro bono work. Opposed by county lawyer Turner (Richard Schiff) in court, Rita gradually comes to care for her client and his daughter, even as they force her to consider the limitations of her own abilities as a parent. The soundtrack for I Am Sam (2001) gained considerable critical attention, consisting entirely of Beatles cover songs by such contemporary artists as The Black Crowes, Eddie Vedder, the Wallflowers, and Aimee Mann, among others. — Karl Williams

In this French drama, Gaspar Noe, who won awards (Prix Georges Sadoul, Cannes Crix Week) for his 40-minute Carne (1991), continues where that film ended, beginning with a Carne recap: The Butcher (Philippe Nahon) narrates, telling how, as a war orphan working at 14, he opened his horsemeat butcher shop and fathered a mute, retarded daughter. After the mother and daughter left for life in a Paris suburb, he served a prison term after an assault on someone he mistakenly believed had raped his daughter. The follow-up sequel, set in a Lille suburb, begins in 1980: Obese bar owner (Franjkyie Pain) is pregnant by The Butcher, who is unable to find work. The couple moves in with her mother, but he becomes irritated with the two women and goes to Paris where the humiliation of job-hunting and the sum total of futility and hopelessness triggers thoughts of what he might accomplish with his gun and his last three bullets. Shown at the 1998 Cannes Film Festival. ~ Bhob Stewart, All Movie Guide

Italian maestro Federico Fellini`s first international success is a nakedly autobiographical film that bears many of the formal and thematic concerns that recur throughout his work. Set in the director`s hometown of Rimini, I Vitelloni follows the lives of five young vitelloni, or layabouts, who while away their listless days in their small seaside village. Fausto (Franco Fabrizi), the leader of the pack, marries his sweetheart, but finds himself constantly distracted by other women. Meanwhile, would-be playwright Leopoldo (Leopoldo Trieste) continues work on his dreary plays, dreaming of staging them one day. Clownish Alberto (Alberto Sordi) still lives at home with his mother and sister, Olga (Claude Farell), while boasting of preserving the family honor by watching over her. While the movie seems to pay little attention to Riccardo (Riccardo Fellini) and Moraldo (Franco Interlenghi), the latter eventually emerges as its key character, plainly serving as Fellini`s alter ego. Stuck in adolescence, the five friends stumble into various misadventures, as they seek to spice up their uneventful provincial lives. Ultimately, one of them breaks free from their self-imposed paralysis and moves on, leading to one of the most poignant farewell sequences in film history. A hit in Italy upon its release, I Vitelloni secured Fellini`s reputation as an up-and-coming talent, while also introducing its title into Italian vernacular. ~ Elbert Ventura, All Movie Guide

A team of "sub-zero heroes" band together to save a human infant in this digitally animated feature from Oscar-winning director Chris Wedge, whose unique lighting software (called "Ray Tracing") sets his visual style apart from earlier CGI efforts. Twenty thousand years ago, the Earth is overrun by freezing temperatures in an Ice Age that is sending all manner of critters scattering in the path of encroaching glaciers. When a lost human infant is discovered, an unlikely quartet of misfits forms to return it to its mother: Manny, a depressed woolly mammoth (Ray Romano); Sid, a fast-talking sloth (John Leguizamo); an acorn-crazed squirrel named Scrat (Wedge); and the devilish saber-toothed tiger named Diego (Denis Leary). Before they can complete their mission, the reluctant compatriots will brave pits of boiling lava, dangerous caverns of ice, and even a traitorous plot within their midst. Ice Age (2002) also features the voices of Jack Black, Jane Krakowski, and Goran Visnjic. — Karl Williams

Set on Thanksgiving weekend of 1973, The Ice Storm looks into the lives of a wealthy Connecticut family who are calm and civil on the outside, but whose lives are quietly falling into chaos. 16-year-old Paul Hood (Tobey Maguire) is home for the holidays from prep school; he`d just as soon have stayed at school, given the usual level of tension around the house and his desire to win the affections of Casey (Katie Holmes), a girl living in Manhattan. His 14-year-old sister Wendy (Christina Ricci) is already a hardened cynic obsessed with the ongoing Watergate investigation, and she has begun acting out sexually with a neighbor boy, Mikey (Elijah Wood). Apparently, this runs in the family: Wendy`s father Ben (Kevin Kline) is having an affair with Mikey`s mother, Janey (Sigourney Weaver), though Ben sees a future in the relationship and Janey does not. Elena (Joan Allen), Ben`s wife, knows something is wrong with her marriage and her life, but she has no idea what she should do about it. As the teenagers surreptitiously experiment with drugs and alcohol, and the adults drift into mate swapping, a dangerous blanket of freezing rain begins to cover New Canaan. The Ice Storm was adapted from the acclaimed novel by Rick Moody. ~ Mark Deming, All Movie Guide

Maverick auteur Takashi Miike spins this unsettling, blood-soaked yakuza yarn adapted from Hideo Yamamoto`s cult manga Koroshiya 1. When mob don Anjo mysteriously disappears, his protégé Kakihara (Tadanobu Asano) vows to find the people responsible. Sporting a blond head of hair and a yawning, pierced slash for a mouth, Kakihara is no ordinary gangster and his methods are equally unorthodox; he impales one poor suspect`s naked body on a series of meat hooks and then dumps hot oil on him. Meanwhile, a shadowy character known as Jijii (played by director Shinya Tsukamoto) deftly manipulates, for his own nefarious ends, Ichi (Nao Omori), an unbalanced but ruthless killing machine clad in a superhero suit. Pining for the sadistic abuse of his boss, Kakihara learns of Ichi from a Hong Kong hostess (Alien Sun) and sets out to find this fabled butcher, hoping he can inflict the pain that Kakihara craves. This film was screened at the 2001 Toronto Film Festival as a part of the Midnight Madness program. ~ Jonathan Crow, All Movie Guide

Akira Kurosawa`s Ikiru details the existential struggle of one ordinary man in his desperate search for purpose. Upon learning he has terminal stomach cancer, a low-level government bureaucrat (Takashi Shimura) leaves his job of thirty years without a word to find meaning in the year he has left to live. He is completely alone in the world -- his wife is dead, his son is practically estranged, and his co-workers (the people with whom he has more contact than any others) are little more than strangers. Rather than face a death alone in pathos, Shimura opts to make up for lost time by going to the bar (for the first time in his life), spending every last yen in his wallet and drinking himself to death. There he meets a black-clad artist (a Mephistopheles to his Faust) who leads him on a hellish (and darkly humorous) tour of the city after dark as the two crawl through every booze-soaked juke-joint in town (Kurosawa`s classical training as a painter surfaces in this sequence; many critics have noted the striking similarity of the crowded dance hall scenes to the paintings of Hieronymous Bosch, (particularly Walpurgis Night). Realizing he has missed nothing, Shimura then sets his sight on a pretty young girl from the office to divert his attention from his looming mortality. Although the girl fails to serve as a lifebuoy, she does give him the inspiration to do something meaningful -- to leave a legacy, however small, that makes the world a better place. A synopsis of Ikiru cannot serve the film justice; it simply must be seen. ~ Jeremy Beday, All Movie Guide

Actor John Turturro, who made his directorial debut with the Cannes Camera d`Or winner Mac (1992), returned to directing with this period farce about a struggling, turn-of-the-century New York repertory company owned by Astergourd (Beverly D`Angelo) and Pallenchio (Donal McCann). Egotistical playwright Tuccio (Turturro) has written a new play, Illuminata, for the troupe`s actress-manager Rachel (Katherine Borowitz), daughter of aging actor Flavio (Ben Gazzara), who`s lost his memory. Tuccio would like to see Illuminata staged, but the owners feel the play is unfinished. Young Piero (Matthew Sussman) collapses while performing in Cavalleria Rusticana, and this provides the ambitious Tuccio with an opportunity to introduce his new work to audiences. Unfortunately, foppish critic Bevalaqua (Christopher Walken) is unimpressed and issues a vicious attack on the production — while also making unsubtle overtures to company clown Marco (Bill Irwin). Diva Celimene (Susan Sarandon) seduces Tuccio with her promises to bring him worldwide fame and fortune. Other liaisons are played out with the juvenile leads (Rufus Sewell, Georgina Cates), a veteran clown (Leo Bassi), and a supporting actress (Aida Turturro). Shown in competition at the 1998 Cannes Film Festival. — Bhob Stewart

Keenen Ivory Wayans wrote, directed, and starred in this hilarious parody of blaxploitation films in the comedy I`m Gonna Git You Sucka. Jack Spade (Wayans) returns home from a hitch in the army to find his brother Junebug has died from an overdose of gold chains, leaving his widow Cheryl (Dawnn Lewis) and mother Ma Bell (Ja`net DuBois) alone to fend for themselves. Ma throws two inept thugs (Damon Wayans and Kadeem Hardison) sent by the evil white guy Mr. Big (John Vernon) down a flight of stairs. Junebug owes $5,000 to Mr. Big for his gold-chain addiction and tries to force Cheryl into prostitution to pay off the debt. Jack recruits his old friend to go after Mr. Big to seek revenge. John Slade (Bernie Casey), Hammer (Isaac Hayes), Slammer (Jim Brown) Kung Fu Joe (Steve James) and the former Pimp Of The Year Flyguy (Antonio Fargas) join up with Jack to avenge his brother` death. Chris Rock makes a brief appearance as the annoying customer who risks his life by irking rib joint owner Hammer. Funny and fast paced, the writing, acting, sight gags and cameos by Robert Townsend, Peggy Lipton, Clarence Williams III, Eve Plumb (Jan from The Brady Bunch), Kim Wayans, and Gary Owens makes this a must-see for any comedy fan. — Dan Pavlides

After chronicling various chapters of Irish history in such films as In the Name of the Father and The Field, writer/director Jim Sheridan turns his lens upon his own family`s experiences immigrating to the United States in the aptly titled In America. The loosely autobiographical script centers on Johnny (Paddy Considine), a young actor sneaking his wife, Sarah (Samantha Morton), and daughters, Christy and Ariel (real-life sisters Sarah and Emma Bolger, respectively), over the Canadian border in the hopes of jump-starting his career in New York City. They soon find that America is not the land of boundless opportunity, however, as they move into a dank, dilapidated apartment building populated by drug dealers, transients, and thugs. Johnny doesn`t snag auditions as easily as he may have hoped, and he and Sarah are forced to take meager jobs after spending their savings on food, rent, and utilities. Still in grief over the untimely death of their toddler son back in Ireland, the couple find their relationship further strained by the pressures of life in the city. Little by little, however, things begin to look up for the fiercely protective family unit, especially when they befriend an eccentric artist neighbor named Mateo (Djimon Hounsou). In America saw its world premiere at the 2002 Toronto International Film Festival and played to enthusiastic crowds at the 2003 Sundance Film Festival before its theatrical release in the fall of that year. ~ Michael Hastings, All Movie Guide

Marina de Van, a frequent collaborator of director François Ozon`s (she co-wrote several films with him, in addition to starring in See the Sea and Sitcom), makes her feature directorial debut with In My Skin, which she also wrote. De Van stars in the film as Esther, a self-conscious young woman who works for a public relations firm. Her life seems to be going well. Her boyfriend, Vincent (Laurent Lucas of With a Friend Like Harry...), wants to live with her. At work, she`s in line for a promotion and the opportunity to run a prestigious campaign for a jewelry company. One night at a party with her friend, Sandrine (Léa Drucker), Esther wanders into the backyard and stumbles, scratching her leg on a piece of scrap metal. She goes back to the party, and later realizes that her injury is much more severe than she had thought. There`s a huge, ugly gouge all the way up her shin, and she`s bleeding profusely. She goes to a doctor, who patches her up and tells her she might need a skin graft. But Esther becomes obsessed with the wound. She won`t let it heal, sneaking away during work to cut herself. As her leg becomes an ugly scarred mass, she begins to notice a problem with her arm. Before long, she`s alienated Vincent and jeopardized her job with her compulsive, self-destructive behavior. But she continues on her grotesque downward spiral. In My Skin was shown at Lincoln Center in New York as part of their 2003 Rendez-vous with French Cinema. — Josh Ralske

Character actor and noted photographer Todd Field made his directorial debut with this emotionally powerful drama, which earned enthusiastic reviews at the 2001 Sundance Film Festival. Frank Fowler (Nick Stahl) is a handsome and amiable young man who has recently graduated from high school and is spending the summer working as a lobster fisherman before heading off to college in the fall. Frank is also involved with Natalie (Marisa Tomei), an attractive woman ten years his senior who is separated from her husband Richard (William Mapother), though their divorce has not yet been finalized. Frank`s parents, Matt (Tom Wilkinson) and Ruth (Sissy Spacek) wonder if it`s wise for their son to be pursuing a romance that he won`t be able to continue in a few months; Matt trusts Frank and leaves him to make his own decisions, while Ruth quietly but firmly registers her objections. One day, Richard snaps, and breaks into Natalie`s home; when he discovers Frank is there, he viciously kills him. The wheels of justice turn in an unexpected direction, and Richard is released on bail, free to go his own way as he awaits his trial. Matt and Ruth are both deeply traumatized by the event; while Matt tries to deal with his hurt by retreating into his work and avoiding his feelings, Ruth instead becomes increasingly withdrawn, losing interest in her job as a music teacher and spending her nights chain smoking in front of the television. In the Bedroom was adapted from the short story -Killings by Andre Dubus. ~ Mark Deming, All Movie Guide

For his first film since the 1997 Hong Kong handover, auteur filmmaker Wong Kar-wai directs this moody period drama about unrequited love that, like his earlier work, swoons with romantic melancholy. Set in a Shanghaiese enclave in Hong Kong in 1962, the film centers on two young couples who rent adjacent rooms in a cramped and crowded tenement. Li-zhen (Maggie Cheung) works as a secretary in an export company while her husband`s job at a Japanese multinational keeps him away on extended business trips. Across the hall, Chow (Tony Leung Chiu-wai) works as a newspaper editor and is married to a woman who is also frequently out of town. Neither respective spouse is ever shown in full, instead they are shot from the back or obscured by walls and furniture. Li-zhen and Chow soon strike up a cordial -- if tenative -- friendship. Chow begins to suspect that his wife`s long absences are not entirely business related when he stops in unannounced at her office to discover that she is not there. Later, a colleague tells him that he saw his wife with another man. The icing on the cake comes when Chow notices that Li-zhen`s handbag is identical to his wife`s while Li-zhen discovers that Chow is wearing a tie that she gave her husband; it doesn`t take long for them to realize that their spouses are sleeping together. Drawn together by shame and anger, Chow and Li-zhen reveal nothing of their discoveries to their partners. While working through their guilt by imagining how their adulterous spouses first hooked up and rehearsing interrogations, the pair slowly fall in love in spite of their determination to uphold their end of their marital vows. In the Mood for Love, which was screened in competition at the 2000 Cannes Film Festival, barely made it to the fest`s final slot; Wong Kar-wai was reportedly shooting scenes in Cambodia a week prior to the festival. ~ Jonathan Crow, All Movie Guide

The My Left Foot team of star Daniel Day-Lewis and director Jim Sheridan were reunited to make this political docudrama about Irish citizen Gerry Conlon (Day-Lewis), who was wrongly convicted of taking part in an IRA bombing that killed five in Guildford, England in 1974. After a brutal interrogation forces him to sign a false confession, Gerry is sentenced to prison, his family is raked over the coals, and later his father Giuseppe (Pete Postelthwaite) is charged with being an accomplice and is also sent to prison where he lives out the last days of his life. Day-Lewis gives an outstanding performance as a man tormented by the injustice served him. Watch for Emma Thompson as the persevering lawyer who works for years, gathering evidence to clear Gerry`s name. ~ Jason Ankeny, All Movie Guide

Award-winning short filmmaker Jessica Yu makes her feature-length debut with In the Realms of the Unreal, a documentary about outsider artist Henry Darger. Born in 1892, Darger lived in Chicago and worked as a janitor for most of his life. When he died in 1972, his landlord found his life`s work: The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion (often simply referred to as The Realms). A massive, multiple-volume fantasy novel, The Realms also contains nearly 300 illustrations of collages, drawings, and paintings. Rather than interview art scholars and psychologists, Yu chooses to look at Darger`s work from the viewpoints of those who knew him. Yu also incorporates animation segments into the documentary, using Darger`s original images. In the Realms of the Unreal was shown at the Sundance Film Festival in 2004 as part of the documentary competition. — Andrea LeVasseur

Directed by Brad Bird, The Incredibles revolves around former high-profile superhero Bob Parr (aka Mr. Incredible), who has not-so-successfully settled into suburban life along with his wife and kids under the watchful eye of the Superhero Protection Program. A far cry from the "glory days" during which "supers" were a welcome addition to society, the Parrs` living situation was brought on after a series of superhero-related lawsuits forced them into hiding. When not trying to fight small-time crime undercover with fellow former superhero Frozone (Samuel L. Jackson), Parr (voice by Craig T. Nelson) is muddling through the corporate world as a paunchy, emotionally unsatisfied insurance claims adjuster. His family is like any other with some notable exceptions — his daughter has the uncanny ability to become invisible and create impenetrable force fields at will; his son, Dash, can run at incredible speeds; his wife, Helen (Holly Hunter), is known in super circles as Elastigirl, one of the most respected (and pliable) superwomen of her time. Just when it looks as if things can`t get any worse for Bob, he gets a summons to show up at a remote island to receive instructions for a highly classified assignment, which he promptly accepts. Thrust back into the world of fighting crime, the Incredible family is back in familiar territory — saving the world from Syndrome, a jilted former fan of Mr. Incredible. — Tracie Cooper

The third installment in the widely beloved SpielbergLucas Indiana Jones saga begins with an introduction to a younger Indy (played by the late River Phoenix), who, through a fast-paced prologue, gives the audience insight into the roots of his taste for adventure, fear of snakes, and dogged determination to take historical artifacts out of the hands of bad guys and into the museums in which they belong. A grown-up Indy (Harrison Ford) reveals himself shortly afterward in a familiar classroom scene, teaching archeology to a disproportionate number of starry-eyed female college students in 1938. Once again, however, Mr. Jones is drawn away from his day job after an art collector (Julian Glover) approaches him with a proposition to find the much sought after Holy Grail. Circumstances reveal that there was another avid archeologist in search of the famed cup -- Indiana Jones` father, Dr. Henry Jones (Sean Connery) -- who had recently disappeared during his efforts. The junior and senior members of the Jones family find themselves in a series of tough situations in locales ranging from Venice to the most treacherous spots in the Middle East. Complicating the situation further is the presence of Elsa (Alison Doody), a beautiful and intelligent woman with one fatal flaw: she`s an undercover Nazi agent. The search for the grail is a dangerous quest, and its discovery may prove fatal to those who seek it for personal gain. Indiana Jones and the Last Crusade earned a then record-breaking $50 million in its first week of release. ~ Tracie Cooper, All Movie Guide

The second of the George LucasSteven Spielberg Indiana Jones epics is set a year or so before the events in Raiders of the Lost Ark (1984). After a brief brouhaha involving a precious vial and a wild ride down a raging Himalyan river, Indy (Harrison Ford) gets down to the problem at hand: retrieving a precious gem and several kidnapped young boys on behalf of a remote East Indian village. His companions this time around include a dimbulbed, easily frightened nightclub chanteuse (Kate Capshaw), and a feisty 12-year-old kid named Short Round (Quan Ke Huy). Throughout, the plot takes second place to the thrills, which include a harrowing rollercoaster ride in an abandoned mineshaft and Indy`s rescue of the heroine from a ritual sacrifice. There are also a couple of cute references to Raiders of the Lost Ark, notably a funny variation of Indy`s shooting of the Sherpa warrior. ~ Hal Erickson, All Movie Guide

The year is 1961 and Ingmar Bergman is making a movie. While planted on the scene as apprentice to Bergman, Vilgot Sjöman (director, I Am Curious–Yellow, 1967), suggests to Swedish Television that they take the opportunity to record with the acclaimed director. In August, Sjöman and the television crew begin to capture what would become a comprehensive five-part documentary on the making of Winter Light, offering views of script development, set construction and lighting, rehearsals and editing, as well as intimate conversations with Bergman and members of his cast and crew. Footage from the film’s Swedish premiere delivers immediate audience reactions and the critics’ reviews the following day. Originally recorded on 16mm film, the television series Ingmar Bergman Makes a Movie is presented here in its entirety for the first time outside of Sweden.

In this crime drama, a philandering wife plans to ill her alcoholic husband so she can run away with her lover. It all goes according to plan, and the widow is finally happy. Her happiness is short lived, as the "dead" husband shows up alive on her doorstep. — Sandra Brennan

Fast-paced and too slick by half, Fenton Bailey and Randy Barbato`s Inside Deep Throat is a fun and fascinating primer on the unlikely impact of the cheaply (and mostly ineptly) made 1972 porn flick. It didn`t just change the lives of its participants forever (and, clearly, in the case of stars Linda Lovelace and Harry Reems, for the worse); it had a profound effect on American politics and culture. The film moves quickly, skimming the surface in many instances. It glosses over many of Lovelace`s charges about how she was treated during filming and later, when she became notorious. It never delves into affable director Gerard Damiano`s connections to his reputedly mob-backed investors. But there`s certainly a lot of fascinating information disseminated through the film, and the filmmakers make it clear that the huge political battle that ensued over the film was a precursor to contemporary culture wars. Larry Flynt and Alan Dershowitz are among the documentary`s entertaining talking heads, evoking Milos Forman`s equally snarky and engaging The People vs. Larry Flynt. Although Deep Throat was rightly seen as a sexist fantasy by feminist critics, Bailey and Barbato make it clear that its groundbreaking engagement with the very notion of female pleasure, despite the immature approach, was an essential part of what made the film such a target for censors like Tennessee prosecutor Larry Parrish (who nearly sent Reems to jail for his performance) and the since-disgraced Charles Keating. There`s even a startling clip of Reems debating Roy Cohn, perhaps the ultimate sexual hypocrite, about his case. Inside Deep Throat, with its 1970s-style groovy graphics and tittering adolescent`s view of sexuality, has a willfully disreputable tone, but it provides surprising insight into the evolution of American culture. — Josh Ralske

From the directing team of identical twin brothers Timothy Quay and Stephen Quay, Institute Benjamenta, or This Dream People Call Human Life focuses on the experiences of Jakob Von Gunten (Mark Rylance), who has come to the titular institute to train to become a manservant. Amidst a series of unorthodox lessons under the instruction of brother and sister Johannes Benjamenta (Gottfried John) and Lisa Benjamenta (Alice Krige), Jakob becomes attracted to Lisa and she to him. As the magnetism between the two of them intensifies, Lisa`s health declines more and more, leading Johannes to question Jakob`s influence on her. The screenplay was adapted from the novel Jakob von Gunten by Robert Walser. — Matthew Tobey

Diane Keaton, Kristin Griffith, and Mary Beth Hurt play Renata, Flyn, and Joey, the grown daughters of wealthy Arthur (E.G. Marshall) and his emotionally disturbed wife Eve (Geraldine Page). When Arthur leaves Eve, her three daughters rally around her. As it turns out, none of the daughters are ideally suited to provide an "anchor" for their distracted mother, but all four women are strengthened by their renewed relationship. Interiors would be nominated for four Oscars, including best actress for Geraldine Page and best supporting actress for Maureen Stapleton (who plays Marshall`s new love). ~ Hal Erickson, All Movie Guide

Joel and Ethan Coen take on the classic battle-of-the-sexes screwball comedy with Intolerable Cruelty. George Clooney plays Miles Massey, a high-powered Los Angeles divorce lawyer nearing a midlife crisis . While representing wealthy client Rex Rexroth (Edward Herrmann), Miles meets his match in Rex`s gold-digging wife, Marilyn Rexroth (Catherine Zeta-Jones). He`s impressed by her similarly heartless ways of using marriage to fuel an expensive lifestyle, but he still defeats her in court. With Marilyn looking to get her revenge and Miles finding himself attracted to her, the two engage in a ruthless romantic pursuit to out-swindle each other. Billy Bob Thornton shows up in a small role as Texas oil tycoon Howard Doyle. — Andrea LeVasseur

Sometime during the shooting of the landmark The Birth of a Nation, filmmaker D.W. Griffith probably wondered how he could top himself. In 1916, he showed how, with the awesome Intolerance. The film began humbly enough as a medium-budget feature entitled The Mother and the Law, wherein the lives of a poor but happily married couple are disrupted by the misguided interference of a "social reform" group. A series of unfortunate circumstances culminates in the husband`s being sentenced to the gallows, a fate averted by a nick-of-time rescue engineered by his wife. In the wake of the protests attending the racist content of The Birth of a Nation, Griffith wanted to demonstrate the dangers of intolerance. The Mother and the Law filled the bill to some extent, but it just wasn`t "big" enough to suit his purposes. Thus, using The Mother and the Law as merely the base of the film, Griffith added three more plotlines and expanded his cinematic thesis to epic proportions. The four separate stories of Intolerance are symbolically linked by Lillian Gish as the Woman Who Rocks the Cradle ("uniter of the here and hereafter"). The "Modern Story" is essentially The Mother and the Law; the "French Story" details the persecution of the Huguenots by Catherine de Medici (Josephine Crowell); the "Biblical Story" relates the last days of Jesus Christ (Howard Gaye); and the "Babylonian Story" concerns the defeat of King Belshazzar (Alfred Paget) by the hordes of Cyrus the Persian (George Siegmann). Rather than being related chronologically, the four stories are told in parallel fashion, slowly at first, and then with increasing rapidity. The action in the film`s final two reels leaps back and forth in time between Babylon, Calvary, 15th century France, and contemporary California. Described by one historian as "the only film fugue," Intolerance baffled many filmgoers of 1916 -- and, indeed, it is still an exhausting, overwhelming experience, even for audiences accustomed to the split-second cutting and multilayered montage sequences popularized by Sergei Eisenstein, Orson Welles, Jean-Luc Godard, Joel Schumacher, and MTV. On a pure entertainment level, the Babylonian sequences are the most effective, played out against one of the largest, most elaborate exterior sets ever built for a single film. The most memorable character in this sequence is "The Mountain Girl," played by star on the rise Constance Talmadge; when the Babylonian scenes were re-released as a separate feature in 1919, Talmadge`s tragic death scene was altered to accommodate a happily-ever-after denouement. Other superb performances are delivered by Mae Marsh and Robert Harron in the Modern Story, and by Eugene Pallette and Margery Wilson in the French Story. Remarkably sophisticated in some scenes, appallingly naïve in others, Intolerance is a mixed bag dramatically, but one cannot deny that it is also a work of cinematic genius. The film did poorly upon its first release, not so much because its continuity was difficult to follow as because it preached a gospel of tolerance and pacifism to a nation preparing to enter World War I. Currently available prints of Intolerance run anywhere from 178 to 208 minutes; while it may be rough sledding at times, it remains essential viewing for any serious student of film technique. ~ Hal Erickson, All Movie Guide

This surreal variant on the classic vampire tale is the directorial debut of Mexican filmmaker Guillermo del Toro, who garnered international acclaim and several awards. The film tells the story of elderly antique dealer Jesus Gris (Federico Luppi, in a role originally written for Max Von Sydow) who, with his eight-year-old granddaughter Aurora (Tamara Shanath), discovers an ancient artifact secreted within a statue obtained from the estate of a 16th-century alchemist. Unbeknownst to Gris, the device -- which resembles an ornate, gilded mechanical beetle -- houses an immortal parasite which will grant eternal life to its host. Naturally, there is a terrible price for this gift, which Gris is doomed to discover after the object anchors itself to his body. He begins to develop an extreme aversion to daylight, as well as an agonizing thirst for human blood. To compound matters, dying millionaire Dieter de la Guardia (Claudio Brook) has learned of the device`s existence -- thanks to an occult tome obtained from its inventor -- and wishes to obtain it for his own use. To this end he employs his vain, brutish nephew Angel (Ron Perlman) to retrieve it for him. Angel`s techniques are less than subtle, and he inevitably winds up killing Gris in his futile search for the artifact... but death is not permanent for the host of the Cronos, and he rises from the mortuary slab to reunite with the long-suffering Aurora. Together they confront de la Guardia and his nephew one last time, hoping to find a way to reverse the horrible process before Gris suffers the same monstrous fate as the device`s creator. ~ Cavett Binion, All Movie Guide

A boy`s best friend is his robot in this animated adventure from Brad Bird, best known for his TV work on such series as The Simpsons, King of the Hill, and The Critic. Set in 1957, The Iron Giant focuses on Hogarth (voice of Eli Marienthal), an imaginative nine-year-old boy who daydreams of alien invasions and doing battle with Communist agents. One day, Hogarth hears a local fisherman talk about something that surpasses anything he could dream up: a fifty-foot robot that fell from the sky into a nearby lake. Needless to say, Hogarth`s mom, Annie (voice of Jennifer Aniston) finds this a little hard to swallow, but when Hogarth finds the robot (voice of Vin Diesel) and fishes him out of the water, his pal Dean (voice of Harry Connick Jr.), a beatnik sculptor who also runs a junkyard, offers to help by hiding the robot with his salvage. A government agent named Kent Mansley (voice of Christopher McDonald) soon gets wind that there`s a mechanical invader of unknown origins in the neighborhood and wants to wipe out the potential threat. However, the robot (which loves to eat metal and is learning to talk) turns out to be friendly, and the boy in turn tries to teach his new pal the ways of humans. The Iron Giant is loosely based on the book The Iron Man by late British poet Ted Hughes, previously adapted for the stage by rock musician Pete Townshend, who executive produced the film. — Mark Deming

Gaspar Noé`s Irreversible utilizes the same storytelling technique used by Christopher Nolan in Memento and Harold Pinter in Betrayal. Consisting of about a dozen scenes, all shot in single takes, Irreversible charts a disturbing night in the life of Marcus (Vincent Cassel), but presents the events in reverse chronological order. The audience eventually learns how the beautiful Alex (Cassel`s real-life partner Monica Bellucci) is involved. The film opens with a violent altercation at a gay sex club and works backward to explain how and why the violence occurred. The actors improvised the vast majority of the dialogue starting from a four-page story outline. Irreversible was screened in competition at the 2002 Cannes Film Festival. ~ Perry Seibert, All Movie Guide

Navigating the deadly waters of Stalinist politics, Eisenstein was able to film two parts of his planned trilogy about the troubled 16th-century tsar who united Russia. Visually stunning and powerfully acted, Ivan the Terrible charts the rise to power and descent into terror of this veritable dictator. Though pleased with the first installment, Stalin detected the portrait in the second film—with its summary executions and secret police—and promptly banned it. Criterion is proud to present Ivan the Terrible, Parts I and II, in new digital transfers with extensive image and sound restoration.