Sacha Vierny Movies

In this historical drama with music, a gifted singer (Oleg Yankovsky) from a Jewish village in Russia travels to the United States in 1927, leaving behind his young daughter Fegele (Claudia Lander-Duke). Father has promised his family that he'll send for Fegele as soon as he can, but authorities make life hard for the Jewish population, and Fegele is forced to flee with relatives to England. Fegele is adopted by a British family, which renames her Suzie and raises her with little acknowledgement of her ethnic heritage. As she grows to adulthood, Suzie (Christina Ricci) becomes a gifted vocalist and gets a job singing in a nighclub revue in Paris. Before she leaves England, her adopted family presents Suzie with a picture of her father, still believed to be living in America, and she decides she will go to the United States some day and find him. In Paris, Suzie makes friends with Lola (Cate Blanchett), a Russian showgirl in the market for a rich husband. Lola becomes involved with opera star Dante Dominio (John Turturro), and soon both Lola and Suzie are extras in Dominio's company, managed by Felix Perlman (Harry Dean Stanton). As Lola takes up with Dante, Suzie falls for Cesar (Johnny Depp), a poor but handsome gypsy horse trainer. Suzie soon becomes involved with the handsome Cesar, but their happiness proves to be short-lived when the Nazi war machine begins to roll through France. The Man Who Cried was written and directed by Sally Potter, who previously won acclaim for another unusual historical piece, Orlando. ~ Mark Deming, Rovi

Peter Greenaway directed this elliptical and visually intricate tale of the far side of erotic and intellectual attraction. As a girl, Nagiko would receive a special gift each year from her father: a calligrapher (Ken Ogata) who would carefully paint a poem on her face, as her aunt (Hideko Yoshida) read aloud from The Pillow Book, a classic Japanese text on the art of love. As Nagiko (Vivian Wu) reached adulthood, her father insisted on putting a stop to this ritual, and he persuaded her to marry the nephew of his publisher (Ken Mitsuishi). But Nagiko is not satisfied with her husband, and after finding success as a model, she seeks a lover who will indulge her fondness for literature by writing verse on her naked body. In time, she finds happiness with a British expatriate named Jerome (Ewan McGregor), who persuades her to use his body as paper for her poetry, but the interference of her father's publisher (Yoshi Oida) gives their relationship a tragic turn. Greenaway deliberately mistranslated some of the French and Japanese dialogue for The Pillow Book, hoping that the occasionally fractured language would give the film a "Tower of Babel" quality. ~ Mark Deming, Rovi

Peter Greenaway wrote and directed this typically surreal and iconoclastic black comedy. Three generations of women who share the same name -- 63-year-old Cissie Colpitts (Joan Plowright), her daughter Cissie Colpitts II (Juliet Stevenson), and granddaughter Cissie Colpitts III (Joely Richardson) -- have all discovered the same way of dealing with their marital problems. The senior Cissie has drowned her husband Jake (Bryan Pringle) in the bathtub, her daughter sent her spouse Hardy (Trevor Cooper) to a watery grave in the ocean, and the youngest Cissie sent her husband Bellamy (David Morrissey) down in a swimming pool. Needless to say, local coroner Henry Madgett (Barnard Hill) has some questions about this sudden rash of drownings among the Colpitts husbands, and again all three women respond in the same way: they promise to sleep with Henry in exchange for recording the deaths as accidental (though none of the Cissies make good on this promise). When the local gossip mill begins working overtime about this sudden rash of water-related deaths, Henry's teenage son Smut (Jason Edwards) comes to the aid of the Cissies and organizes a tug-of-war, with he and the Colpitts women on one side and the doubting townspeople on the other (and, of course, a river in the middle). Along the way, Greenaway often stops to contemplate his obsessions with literature, astronomy, and numbers. Drowning by Numbers was released in Europe in 1988, but didn't find its way to American screens until 1991, following the success of Greenaway's The Cook, the Thief, His Wife and Her Lover. ~ Mark Deming, Rovi

This twisted black comedy is obsessed in turn with swans, twins, and decay. Alba Bewick (Andréa Ferréol) is involved in a swan-related car accident near the zoo. The accident kills two other women, the wives of two twin zoologists, Oliver and Oswald Deuce (Brian and Eric Deacon). Alba is lucky enough to escape with one leg. Eventually her doctor also removes the other "because it was dangerous for the spine." Meanwhile, the Deuce brothers, as a result of losing their wives, have become fascinated with the decay of corpses, and they start making rather gruesome time-lapse films to examine the process more thoroughly. Both brothers become involved with Alba. Needless to say, this film may not appeal to everybody. ~ John Voorhees, Rovi

Acclaimed French director Alain Resnais, winner of many international film awards for his ground-breaking creativity (Hiroshima, Mon Amour, L'Année Dernière à Marienbad), follows up his successful La Vie Est Un Roman with this continuing saga of love and death. This time, two principal actors from La Vie.. (Pierre Arditi and Sabina Azéma) star as Simon and Elizabeth, a new couple very much in love, and two more (Fanny Ardant and André Dussolier) star as their friends Judith and Jerome Martignac. After Simon has arrived at an archaeological dig he is directing in the south of France, he meets the winsome Elizabeth, and the two fall deeply in love, living joyously together for a full two months. Then Simon has a seizure of sorts and appears to have died, but he miraculously revives with memories of his experience that make his feelings for Elizabeth pale by comparison. As he searches for a way to express and regain that experience, he has another seizure, and this time he does not come back. Elizabeth continues their previous conversations with friends Judith and Jerome, both Protestant ministers, in an effort to come to a decision about her own life and death. In this highly symbolic drama, Simon is clothed only in black, Elizabeth only in red, and several dozen especially composed musical interludes alternate with the action, their sounds accompanied by a snow-like pattern that moves down a black screen. Although critics do not rank this effort by Resnais with some of his earlier, best films, Amour à Mort is still a strong cinematic statement. ~ Eleanor Mannikka, Rovi

In this classically surreal fantasy, a sailor, known for telling tales, sees a student killing his teacher and decides to spin a few yarns for him. He tells the boy of his many adventures in exotic South American ports where he visited opium dens and stayed in cathouses. In such dark, dreamlike places, the sailor meets many strange, mystical characters. ~ Sandra Brennan, Rovi

After serving faithfully for over 10 years, the mid-level executive in this film has received notice that he is being fired for vague reasons having something to do with "reorganization" rather than his own job performance. As a protest, he tries attending a company party with his pants off, which seems to have no effect whatsoever. Shortly afterward, he hits on the scheme of barricading himself in his old office and going on a hunger strike. No one has seen anything like this before, and his efforts seem to be having an effect. ~ Clarke Fountain, Rovi

This film by French director Alain Resnais (Last Year in Marienbad) is loosely based on a true story from the 1930s about financier, con-man and swindler Stavisky who was arrested in 1934 for selling phony stock but was never brought to trial. While in jail, he continued to engage in doubtful monetary transactions. As the rumors that he was being protected by high-ranking members of the government of the French Third Republic were undoubtedly true, the scandal had a profoundly unsettling effect on the French nation, already suffering from poor government handling of the Depression, and this incident nearly brought down both the government and the Republic. Stavisky's death in prison (an apparent suicide) triggered widespread unrest and rioting. In the movie, when Stavisky (Jean-Paul Belmondo) goes to jail as a young con-man, his embarrassed father commits suicide. Ruining countless lives in his stellar career as a big-money swindler, including that of his nobleman friend Raoul (Charles Boyer), Stavisky is shown to be a pawn in a still bigger swindle, one which will destroy the Left and open the way to fascism. ~ Clarke Fountain, Rovi