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Some films reveal their staying power — not with spectacle, not with over-the-top theatrics, but with an emotional unease that lingers long after the final image. THE OGRE OF ATHENS belongs firmly to that category. This story begins as a simple case of mistaken identity and gradually becomes a deeply human, socially charged examination of how people reshape themselves to survive. It’s a film that has lived several lives: a commercial failure upon release, a modern classic in retrospect, and now a newly restored discovery for audiences who may not realize its true influence. The film’s ambition is bold, its execution striking, and its resonance undeniable.

Something is undeniably charming about a series that was built to entertain above all else. THE FANTÔMAS TRILOGY embraces that impulse with a wide grin, pulling together a trio of films that blend chaos, larger-than-life criminal theatrics, and the breezy spectacle of sixties European filmmaking. Visiting these films today — especially through the meticulous restorations of the new Masters of Cinema release — is like discovering a gleeful corner of cinema that never concerned itself with limits. These movies aim to thrill, amuse, and astonish, and they do so with the kind of unapologetic style that contemporary productions rarely attempt.

Michelangelo Antonioni’s LA NOTTE doesn’t rush to introduce conflict or carve emotion into neat, digestible pieces. Instead, it begins with an unnerving quiet — the kind that seeps into a relationship long before anyone is willing to name it. The film exists in that liminal space where two people remain tethered by routine but long detached from anything that resembles intimacy. What begins as a visit to a dying friend becomes a slow unraveling, the kind that doesn’t snap but frays strand by strand until there’s almost nothing left to hold.

ELEVEN DAYS, ELEVEN NIGHTS 2 exists in that unmistakable pocket of late-80s and early-90s erotic cinema where melodrama, sensuality, and mystery all collide in ways that are more about mood and movement than intricate storytelling. Joe D’Amato, who practically defined the aesthetic of Italian softcore through sheer volume and instinct, returns to the world of Sarah Asproon—this time with Kristine Rose taking over the role—and shapes a sequel that isn’t trying to reinvent the genre so much as embrace exactly what viewers come to this kind of film expecting. But beneath the surface-level seduction and soap-operatic plotting, a surprisingly cohesive structure emerges, making this entry more engaging than its reputation suggests.

There’s something undeniably special about a tribute that doesn’t feel performative, but instead feels like a community showing up because they genuinely couldn’t imagine not being there. YOU GOT GOLD: A CELEBRATION OF JOHN PRINE captures that feeling with clarity. Rather than shaping itself as a dramatic biography or even a traditional documentary, it leans into something more immediate: the electricity of live performance mixed with the intimacy of people sharing memories. It’s built from honesty, affection, and loss — all the things that defined Prine’s songwriting from the beginning.