[jwplayer config=”Default-Post-Player” mediaid=”19883″]

Alain Resnais, master of irony and, in his last decades, of whimsical comedy, would have appreciated the fact that his latest oeuvre, “Aimer, Boire, Chanter,” opened in Paris on March 26, not even a month after he himself took his final bow at age 91, on March 1st (see our OBITUARY)

The romp, set in the English countryside and based on an Alan Ayckbourn play, “Life of Riley” never introduces

[jwplayer config=”Default-Post-Player” mediaid=”18718″]

The name Pierre Dulaine might ring familiar to film lovers. His years spent teaching ballroom dancing inspired the screenplay for the feature film “Take the Lead,” (2006) starring Antonio Banderas and Liz Friedlander. In that film Dulaine, who is a quadruple-ballroom dancing world champion, launched several schools in New York and encouraged social diversity and bridging communities together. Born in Jaffa of Palestinian

[jwplayer config=”Default-Post-Player” mediaid=”18657″]

"This picture was going to change the public's perceptions" (Alejandro Jodorowsky)

Alejandro Jodorowsky's "Dune" project is a sci-fi geek's ultimate fantasy, the holy grail of genre movies. And yet, "Dune" exists only in the imagination: it's such a broad and complicated project (think "Avatar" crossed with Terry Gilliam's "Don Quixote") that it was never actually made.

Wes Anderson’s "The Grand Budapest Hotel" is the cinematic equivalent of a pastry: beautiful, exquisitely-crafted and so immensely enjoyable that it seems too good to be real. Part-homage to pre-World War II Europe, part-tribute to memory and the passage of time and part-ridiculous slapstick, "The Grand Budapest"'s greatest achievement is not in its visual perfection but its literary sensibility. It’s what would