Tinto Brass’s romantic comedy features an easy romp through relationships that is often sexually suggestive, often disturbing, and frequently disturbing. Although not among his finest works, Tinto Brass still manages to deliver plenty of entertainment with his vivid new styles of the 60s (notably its color palette echoing both French flag and Mondrian paintings) clearly evident throughout.

Arab and Tarzan Nasser’s sleepy narrative — an international auteur mumblecore style film with nods to Paris je t’aime and New York, I Love You anthologies — might not draw in mainstream audiences but still features plenty of romantic charm. Star turn Camila Cabello adds another level of appeal.

Hiroshima Mon Amour’s final scenes – which feature an immersive reconstruction of May ’68 violence set to an upbeat jazz-pop waltz – suggest that this work of historical fiction may also serve to reconstruct memory. This essay uses two scenes from Hiroshima Mon Amour in tandem with Kant’s theory of sublime to suggest that Hiroshima Mon Amour shows us the transformative process from desire into love by staging infinite alterable qualities beyond representation.

Garrel can sometimes be too in the way with his arrogant, self-absorbed presence in films; but in this comedy he shines brightly, perfectly embodying Godard’s unique pronunciation – pronouncing “zeune” like it’s “zezay.” Additionally, this disc includes an informative yet brief Making Of featurette.

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