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"In her second directorial outing, Melanie Laurent offers a compelling, superbly acted portrait of an adolescent friendship perched on the brink of obsession."
- Scott Foundas, Variety
"An impressive second film that features intelligent writing and several knockout performances...Laurent also impresses here as a director of actors."
- Boyd van Hoeij, The Hollywood Reporter
"Melanie Laurent's gorgeous, twisted and confident Breathe is a natural second act to the early moments of Kechiche's time-spanning new classic [Blue is the Warmest Color], applying the same level of care and consideration to the hormonally driven closeness of yet another pair of wild teen girls."
- Kate Erbland, Film School Rejects
"Idris Elba gives a powerful performance in an impressive homegrown slice-of-life drama that's tinged with unease...driven by confident, searching writing."
- Dave Calhoun, Time Out
"...refreshing...full of emotionally and psychologically complex black characters who are not limited to representing race-defined themes. "
- Stephen Dalton, The Hollywood Reporter
"...Marshall is both engaging and evasive, perfectly matching the fluid tone of Tucker Green's enigmatic urban parable...the film's heart is bold, striking and tangible. "
- Mark Kermode , The Guardian
"...this film is beautiful in its dappled-sunshine light, and powerful in the story of transformation that it tells. And Rivoire, a deaf French student who had never acted before, makes Marie both fierce and achingly vulnerable. Toward the end, we see her outside as snow gently falls; she reaches out, touching the flakes, rejoicing in something she somehow knows is joy."
- Moira Macdonald, Seattle Times
"Marie's Story is lovely and sweet, sad and uplifting.... it satisfies them nicely with vivid performances, beautiful imagery, and compassionate direction."
- Sean Axmaker, Seattle Weekly
"An assured, emotionally satisfying French offering. Carré...plays her determined character with moving obstinacy and grace."
- Peter Debruge, Variety
"Top Ten List for 2014. One of the great films about the nature of love. Brilliantly employs lieder by Mozart and Beethoven - the most telling use of period performance since Straub-Huillet's 1968 CHRONICLE OF ANNA MAGDELENA BACH."
- James Quandt, Artforum
"A satirical yet sensitive study of the 1811 death pact between poet Heinrich von Kleist and Henriette Vogel. Hausner expertly conveys the claustrophobia and inflexibility of this environment by tightly choreographing her characters through carefully composed, sparsely decorated spaces."
- Film Comment
"Hausner reveals her strongest work yet, a droll, romantic exploration of sorts that manages to expertly blend her unique tone with exquisite digital compositions."
- Nicolas Bell, Ioncinema
"Wickedly visceral! Tough, gripping, emotionally rewarding through trenchant plotting!"
- Aaron Hillis, Village Voice
"The film ultimately understands poverty as a profound and often irreversible desolation of terra firma."
- Slant Magazine
"Quietly compelling human drama... (with) a commanding central performance from Margita Gosheva... You become completely captivated by her refusal to surrender to her fate."
- Allan Hunter, Screen Daily
STATIONS OF THE CROSS
"A must see for all those interested in how austere and spiritual techniques can be employed in cinema."
- Paul Schrader
"An austere, beautifully filmed and powerfully acted portrait of extreme religious fervor that slyly flirts with comedy."
- Stephen Holden, The New York Times
"Stations of the Cross belongs among the decade's best films about the lengths one must go to in order to balance strong beliefs with a tolerance toward a secular world that fights against those beliefs."
- Ross Bonaime, Paste Magazine
"Rarely has fetishism been portrayed with such intense, empathetic attention to detail."
"Brilliant. An intimate character piece that's all about the details."
- The Hollywood Reporter
"A chic thriller! A top-flight cast gives the character-driven drama depth and conviction."
- Deborah Young, The Hollywood Reporter
"Perfectly cast! This slick, stylish fusion of class critique and murder mystery confirms Paolo Virzi as one of Italy's more dynamic directors."
- Jay Weissberg, Variety
"It's a strange film - constantly hovering on the knife edge between comedy and tragedy - but a riveting one."
- Bilge Ebiri, Vulture.com