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A cerebral feminist film about a woman trying to find herself and her place in society after a divorce where the father is about to gain custody of their only son. The film represents a cinema of ideas (my favorite sequence is one tracking a series of paintings and the position of women in them), with things to say that apply even today, and, it is suggested, many generations to come. What it lacks is any sort of narrative drive: in the later sections there is a trip to Italy that doesn't really add much, except some Milan sightseeing. Future director Margarethe von Trotta, frequently displaying her thighs of steel, also gives a fine performance in the leading role. **1/2 out of 4.

"The Battle Of The Sexes" (1928) starts out as an airy comedy, but soon wallows into melodrama. Although it is "personally directed" by .D. W Griffith, perhaps the most important pioneer of the cinematic art in the 1910s, it has little to offer in terms of visual innovation. In fact, there is literally only ONE great camera shot: simulating a jump from a high-rise bulding. Other than that, the film is tame in its "risquè" content, and extremely predictable; several sequences run too long. Perhaps the one thing of note is how Griffth makes the daughter of the family (Sally O' Neil) the strong, feisty character while the son is completely unimportant. ** out of 4.

This stiff (attempted) murder mystery must be one of the earliest British talkies, and the best thing you can say about it is that at least the sound is fairly well-recorded. The film has zero style, suspense or interest - it doesn't even have the interest of spotting future stars before they "made it big" because the cast (and director) are completely unknown. Supposedly it takes place on a ship, but mostly you'll just see two or three rooms. There is some minor cleverness to the method in which the (attempted) murder is conducted. Best line: "I've just escaped from a couple of fairies!". *1/2 out of 4.

"Resurrection" (1931) will always have a place in film history as the first talkie ever made in Italy (though released after another, "The Song of Love"). It is an avant-garde celebration of sound (there is A LOT of music) and visual tricks, with minimal dialogue; it's as if it was made under the perception that a sound film is destined to be largely a silent film with sound. It may also be notable for some (very) fleeting glimpses of nudity. The storytelling is often incoherent, and the film feels way, way overlong even at just one hour running time. You can sort of see why it was not a commercial success. ** out of 4.

Frequently cited as one of the very first French talkies, "Sous Les Toits De Paris" is actually more of a part-talkie: there is sound, music, dialogue, but also extended silent stretches. The attempt to make a bittersweet, Chaplinesque romance doesn't quite come off; the film seems to be aiming for effects that Chaplin himself achieved better in the following year's "City Lights". But the occasionally ingenious use of sound, some elaborate camerawork, and some wonderful music compensate. Pola Illéry, whose only significant speaking part this appears to be, has considerable charm - and sex appeal. **1/2 out of 4.

As its title suggests, "Possible Worlds" is a film about the possibility of infinite parallel worlds, but if you're expecting some kind of Hollywood-style CGI extravaganza, you've come to the wrong place: it is a low-budget Canadian film and the special effects are minimal. Nevertheless, it invites you to soak in its dreamy, fluid images. As he proved in his writing-directing debut, "Le Confessionnal", Robert Lepage is a wizard especially at scene transitions. Both films are ambitious and interesting, if not 100% successful. But, as an old saying goes, sometimes an ambitious "failure" is preferable to a safe "success". Tilda Swinton is captivating, as always. **1/2 out of 4.

The main concept of this underseen Denys Arcand film is not original (downtrodden middle-aged public servant with a problematic family life finds refuge in his nighttime dreams and his even more vivid daytime fantasies), but it is well-employed by the Canadian writer-director and the result is a mature, incisive, intelligent, moving, and sometimes very funny film. As usual, Arcand feels free to deal with a different topic in almost every other scene, and the film embraces ideas as well as good old-fashioned slapstick. 17 years later, its views on our "connected" society and the bewildering government bureaucracy are more pertinent than ever. *** out of 4.

Jean Douchet: slight, with the main virtue being a sparkling and hot Barbara Wilkin. Jean Rouch: a riveting, one-shot (after the first few seconds) technical marvel, with an unpredictable end. Jean-Daniel Pollet: amusing set-up with abrupt finish. Eric Rohmer: witty, well-shot, distinctly Parisian, although perhaps too long for its shaggy-dog story. Jean-Luc Godard: unconventionally for him, he actually tells a pretty conventional story. Claude Chabrol: imaginative, with a supremely ironic payoff. Overall, Rouch and Chabrol are the two most successful directors in presenting a full package within their limited time slot. Individual ratings (out of 4): 2.5 / 3 / 2 / 3 / 2.5 / 3.

"Le Polygraphe" is writer-director Robert Lepage's immediate follow-up to "Le Confessionnal", and it shares some of the same strengths and weaknesses: it has an intriguing start (a man takes a polygraph test as the main suspect for the murder of his girlfriend; meanwhile, his neighbor, an actress, gets to play the victim in a movie that is being made based on the very same story), and some virtuoso sequences (the best of which probably comes at the start, when the actress is "teleported" from a studio to a metro station), but Lepage's treatment is far too laid-back and diffuse (I failed to see what the character of the East German refugee added to the plot). There are isolated flourishes that are worth seeing, but the film probably should have been half its length. ** out of 4.

"Le Confessionnal" is nothing if not ambitious: playing out in 2 time zones about 40 years apart simultaneously, AND going to the extra trouble of recreating a faux "making-of" feature for Alfred Hitchcock's 1953 drama "I Confess", which was set and (partly) shot in Quebec. The film has an intriguing plot but loses momentum after a while and at times becomes exceedingly muddled, though it mostly clears up by the end. The best thing about it are the transitions between the present and the past, which are smooth and sometimes purely magical. The actor who plays Hitchcock bears an almost uncanny physical resemblance to the real man, the only thing he doesn't get quite right is the voice. **1/2 out of 4.

"The Barbarian Invasions" (2003) is the rare sequel (more of a continuation, really) that not only surpasses its predecessor - "The Decline Of The American Empire" (1986) - in quality, but it enhances it; it makes it retroactively better. It is a philosophical, funny, moving, beautifully made film primarily about mortality, although - as usual - writer-director Denys Arcand expands his scope to include a wealth of subjects, from family bonds to the absurdity of bureaucracy. The old characters gain new depths, and the new characters make their own contributions, particularly the prodigiously talented Marie-Josée Croze. The finale is inevitable, of course, but it's still hard to hold back the tears. *** out of 4.

"The Decline Of The American Empire" is the film that really put Denys Arcand on the international map, after a decade and more of lesser-known efforts. It is also probably his weakest film of those I have seen so far. It seems the main inspiration was the then-recent "The Big Chill" (Woody Allen's also-similar "Hannah And Her Sisters" came out the same year, 1986), but for most of its running time it plays more like a middle-aged "Porky's" (which IS Canadian, after all). The characters are mostly shallow, almost exclusively defined by their sex drive, and the story threads are familiar. The ensemble cast is fine, although Remy Girard is painfully miscast as a middle-aged lothario. The whole film just reeks of upper-class snobbery and self-absorbtion. **1/2 out of 4.

You might be wary of giving "Xchange" a shot because Stephen Baldwin is the leading man. Well, there is good news, and good news: he only appears after about a third of the movie is through, and he is much better here than usual. In fact, the entire cast is terrific, including the bigger names Kim Coates (always an excellent vilain, but this time he gets to play more), Kyle MacLachlan and Pascale Bussieres, but the real - and unexpected - show-stealer is Janet Kidder as a kinky corporate boss. You sit up and take notice of her right from her introductory scene where she expertly mixes authority, fake politeness, compassion and sarcasm, and she only gets better from there. The film itself gleefully mixes the quirky, the outrageous and the improbable, as well as US footage with Canadian locations. It's more entertaining that you might expect it to be. *** out of 4.

This was Denis Villeneuve's writing and directing debut; to quote Alfred Hitchcock talking about his early British "The Man Who Knew Too Much", it is "the work of a talented amateur". The title seems to vaguely suggest something sci-fi related, but there is nothing of the sort; the film is more of a romantic dramedy, a Canadian "When Harry Met Sally", where two best friends, a man and a woman, wonder if they could/should keep their relationship platonic. There are some remarkable shots, particularly in the white landscapes of the Salt Lake City desert, and Pascale Bussieres' consistently interesting face, but the script is thin and stretched-out. Villeneuve's next film, "Maelstrom" (2000), was already a noticeable leap forward. **1/2 out of 4.

Long before he became a hot property in Hollywood, writer-director Denis Villeneuve made this relatively "small" film in his native Canada. It catches your attention right from the opening scene - this must be the first (non-animated, at least) film ever narrated by a fish! It is written with clockwork precision, sometimes telling events from different viewpoints, and directed with virtuosity. It's mostly somber, but it also has a peculiar, macabre sense of humor (major example: the meaning of the lyrics of the "folkloric" Norwegian song). Marie-Josée Croze, a name that really should be better known, is stylish and amazingly beautiful and holds most of the film on her shoulders. *** out of 4.

"The Five Senses" is well-made and certainly well-acted, moody and occasionally effective, but doesn't really add up to much when all is said and done. I am generally a fan of this type of film (ensemble piece with multiple parallel stories and characters who are only peripherally connected to each other, in this case mostly neighbors), but if you've seen similar works by, say, Robert Altman, Woody Allen, or Denys Arcand, this one doesn't quite play in the same ballpark. Also, despite the distinctive title, some of the senses, especially seeing and tasting, are one marginally involved. The entire cast is very good; Pascale Bussières is absolutely stunning. **1/2 out of 4.

"Stardom" is the fourth Denys Arcand film I have watched so far, after - in their chronological order - "Gina", "Jesus Of Montreal", and "Love & Human Remains". Apart from "Gina", which was made much earlier and Arcand was still finding his way, in the other three films I have noticed some shared trademarks: Arcand seems to see filmmaking as a kind of intellectual game with the audience, and he also doesn't like to be constricted in the number of topics that his films touch upon - in fact, in "Stardom" he tackles a different topic in almost every other scene! With that said, the main target of the film is the fashion industry, and in that field Arcand achieves what Robert Altman only dreamed of in his "Pret-A-Porter" (1994). Coming before the social media frenzy and things like "revenge porn" really took over, "Stardom" can be considered quite prophetic as well. Arcand plunges the viewer, as well as the heroine, into a frenetic whirwhind of media coverage; the film is often dryly funny, but also has some amazing serious scenes, like when Jessica Pare confronts her long-missing father. Speaking of Pare, she is a radiant discovery; this must also be one of Dan Aykroyd's best performances. *** out of 4.

"Vodkaa, Komisario Palmu" is the last of the four Palmu films, and the first one made in color. It is different from the previous three in other ways, too: Palmu is now married and retired, living in the country, and takes up a murder case (the stabbing of a reporter) as a private investigator. The mystery itself is secondary, as the film tries to be more of a political thriller (about the tense Finland - Russia relationship), an action movie (with some admittedly impressive helicopter stunts), and even a musical (!). For all that effort, the results are mediocre. Anna-Leena Mäki-Penttilä, as Palmu's assistant, who spends nearly the entire movie in figure-hugging sweaters, does have a great....figure. The first Palmu outing ("Error", from 1960) is far and away the best. ** out of 4.

"Surfacing" is quite a comedown for director Claude Jutra, made a decade after "Mon Oncle Antoine", frequently voted as one of the very best Canadian films ever, and one year before his sadly underrated "By Design", one of the very first positive lesbian movies in history. This film is boring, aimless, and crudely made. The toxic jerk "best friend" male character along for the ride serves no purpose except to drain any possible fun. The film's one redeeming virtue is Kathleen Beller, who has the face of an angel and the body of a sinner. The actors do deserve credit for evidently doing most of their own (particularly the rafting) stunts. *1/2 out of 4.

"Gina" (1975) is an uneven combination of social docudrama about the working classes of Quebec and a rape-and-revenge story. For most of its running time it doesn't seem to be going anywhere, but a slam-bang action (and gore) climax redeems it somewhat. Celine Lomez's beauty and the snowy landscapes are further assets (the single greatest visual of the film may be a large, abandoned ship on a frozen river), but on the whole "Gina" is a film mostly of interest to director Denys Arcand followers: he didn't hit the big time until 11 years later, with "The Decline Of The American Empire". **1/2 out of 4.

This is the third entry in the Finnish "Inspector Palmu" film series, and the title character feels almost relegated to a supporting role (his assistant in the first two films has been promoted as his superior). Besides, the actor himself, Joel Rinne, looks tired as well. The most notable of the "new" characters is an obvious Hitler caricature, infamous "mustache" included. The only real spark in the movie comes from a voluptuous young girl - but she appears in two scenes only. The three detectives take so long to solve the not-particularly-puzzling case that the film becomes more of a chore than a pleasure; the fact that we never even meet the murder victim makes it even less worth the trouble. ** out of 4.

"Gas, Inspector Palmu!" is the first sequel to "Inspector Palmu's Error", which introduced the title character the previous year, and it is an inferior film. The original was a good mystery that just happened to be Finnish; the sequel is a routine mystery that just happens to be Finnish. While Palmu himself is still fun to watch, the crime plot and supporting characters are less interesting, including one guy in particular who just won't shut up (you'll know who). The film still has some amusing moments, but it's just too talky and laborious. As Palmu himself says, "get to the point!". ** out of 4.

"Lorna's Silence" (2008) is only the second Dardenne Brothers film I have seen so far, after "Rosetta" (1999); in some ways it is like a continuation of "Rosetta", only slightly - slightly - more "mainstream". The Dardennes tread familiar ground here, but their film works, both as a minimalist drama, and as a riveting thriller (in the second half). In Arta Dobroshi they found another gorgeously unglamorous (or is that unglamorously gorgeous?) newcomer, like Emilie Dequenne, who makes for a captivating camera subject. Lorna smiles only once during the entire film, and it means something, and what follows is even more shattering because of that. The biggest problem of the film is the ending, or lack thereof: the story seems unfinished. *** out of 4.

An intricately constructed locked-room murder mystery that demands your full attention or you'll be lost quickly in its multiple characters, subplots, and flashbacks. Joel Rinne is a delight as the wily Inpsector Palmu, and he is surrounded by an effective supporting cast, with Elina Pohjanpää especially cute as Irma. There may be a tad too much talk in this film, but the sheer novelty of watching a Finnish production, and a well-done at that, in this genre is enough to hold your attention. It was followed by three sequels, all with the same star and director, and I am sufficiently motivated to check out at least the first of them and see how it goes. The title is a bit strange, though - I didn't see any "error" on Palmu's part. *** out of 4.

An intellectual, unique (this may be the only time you'll ever see someone arrested while on the cross), multi-layered film which touches on a wide variety of subjects, from the meaning of faith to the commercialism of everything and from solidarity of friends / actors to hospital bureaucracy. Oh, it is also about the beginning and the end of the universe. It's not the most exciting film from a moviemaking standpoint, but it does provoke thought - and has some very funny moments, to boot (wait 'till you see the "Kabuki" rendition of the play). Ironically, for a film that takes a supposedly irreverent approach to the story of Jesus, it contains some religious sequences (the miracles and the resurrection) more powerful than in any "traditional" Biblical epic. *** out of 4.