The Adam Glass and John Patrick Owatari-Dorgan, attempt the sisyphean task of watching every movie in the ever-growing Criterion Collection and talk about them. Want to support us? We'll love you for it: www.Patreon.com/LostInCriterion
Il Generale Della Rovere
Vittorio De Sica stars in Roberto Rossellini's Il Generale Della Rovere, the story of a conman coerced into impersonating an Italian resistance general, but really it's two stories: the first half is De Sica's character's everyday life promising to rescue people's family members from Nazi imprisonment if they can raise the money and his arrest and trial for doing that, then the second half is a war prison film of the same man on the inside doing his new con job. A fascinating and great movie, but like many others, would have been better if more people making it were communists instead of just nationalists.
The Last Metro
A very different François Truffaut film to any we've seen before, The Last Metro draws on the director's memories of a childhood during Occupation to craft a story that is not autobiographical by any means, but instead tells the story of the community around a theater and the various ways people persevered.
The real hobson's choice was capitalism all along.
Simon of the Desert
Luis Buñuel explores the performative arrogance of claiming you're the worst sinner.
The Exterminating Angel
Luis Buñuel just loved a metaphorical dinner party, and loved ruining a Christmas dinner at Charlie Chaplin's house. I love this man.
But Nava seems reluctant to tell the whole story, to show where the blame lies, to make the connections between the violence Enrique and Rosa are fleeing and the history of colonialism and US foreign policy that put and kept those perpetrating the violence in power. Roger Ebert praised the film for not being political. Ebert is wrong. The film is inherently political, and even if it means to only show the story through the eyes of the siblings experiencing it, those siblings have a political life -- they are fleeing because their father was beheaded for being a labor organizer! -- meaning that Nava's apolitical approach removes a dimension of not just the story, but the people.