Now we know which are the 100 best romantic movies of all time. But which are funny and which are heartbreaking? Which depict a dignified romance and which are saucy tales of lust? Which are strictly arthouse and which are simply cheesy? We’ve applied 19 handy labels to the 100 films in our list. Here you’ll find all the films we think deserve the label ‘arty’.
Got something to add? Tell us what you think in the comments below.
RECOMMENDED: The 100 best romantic movies
Director: Wong Kar-Wai
Cast: Tony Leung Chiu Wai, Maggie Cheung
Best quote: 'Feelings can creep up just like that. I thought I was in control.'
Defining moment: Leung whispers his secret into the ruins of a wall.
The agony and the ecstasy
Sometimes, unconsummated love can be the most real of all. Few films, if any, have portrayed that notion quite so exquisitely as Wong Kar-Wai’s ‘In the Mood for Love’, a stunningly sumptuous 1962-set period piece detailing the affair that almost begins between beautiful neighbours (played by Tony Leung and Maggie Cheung) who learn that their spouses are sleeping with each other.
Watching Cheung repeatedly walk past Leung in a dark Hong Kong alleyway in slow-motion to the aching strains of Umebayashi Shigeru’s string theme, it’s clear just how much emotion can exist between two people who have barely even touched. DERead more
Directors: Michael Powell, Emeric Pressburger
Cast: Kim Hunter, David Niven, Roger Livesey
Best quote: 'Nothing is stronger than the law in the Universe, but on Earth nothing is stronger than love.'
Defining moment: The beginning. David Niven is a British wartime pilot, crashing down to earth; Kim Hunter is an American radio operator, falling in love with his voice in his final seconds.
All’s fair in love and war
Trust Powell and Pressburger to find a way of exploring love that is teasing, heartfelt and totally imaginative – while also being timely for an audience recovering from six years of war, separation and strain. When Niven’s pilot plunges to the ground, we enter two worlds: one of them celestial (in monochrome) and one of them real (in colour), although the distinction is in fact much more playful.
After narrowly cheating death (or did he?), will Niven remain on Earth with his new love, Hunter? Or must he succumb to fate? In the end, Powell and Pressburger’s idea is age-old and simple: love conquers all. But they explain this with the bonkers-brilliant concept of putting this idea on trial in no less than a heavenly court. The climax couldn’t be more stirring. DCRead more
Director: Paul Thomas Anderson
Cast: Adam Sandler, Emily Watson
Best quote: 'I have a love in my life. It makes me stronger than anything you can imagine.'
Defining moment: When Barry tells Lena that he wants to smash her face with a sledgehammer – in the most charming way imaginable…
Love is strange
Remember that brief, golden period in the early 2000s when you could openly admit to your friends and family that you were looking forward to the new Adam Sandler movie? A time before ‘Grown Ups 2’ and ‘Blended’, when this still-promising comedy talent actually took risks with his career? It’s impossible to imagine the Sandler of today agreeing to ‘Punch-Drunk Love’ – then again, it’s pretty hard to imagine that he knew what he was getting himself into.
Paul Thomas Anderson’s film is without doubt the oddest romcom of all time, suspended in a hinterland between old-fashioned screwball antics, quirky indie romance and outright arthouse obliqueness. The tone is impossible to pin down, veering from rage to romance to ice-cold stillness. But somehow it works: the glassy LA photography is eye-ravishingly cool, the performances are just this side of too-far-out, and the love affair between Sandler and Emily Watson is simply, truly perfect. THRead more
Director: Max Ophüls
Cast: Joan Fontaine, Louis Jourdan
Best quote: 'If only you could have shared those moments, if only you could have recognised what was always yours, could have found what was never lost. If only...'
Defining moment: The greatest first-date setting of all time – an old fairground ride where scenes from around the globe roll past the windows of a wooden train.
Lonely are the brave
‘By the time you read this letter I may be dead.’ With these words a woman who has spent her life hopelessly devoted to a man who doesn’t know she exists begins her letter to him. Quite simply, ‘Letter from an Unknown Woman’ will leave your heart in pieces on the floor.
Set in turn-of-the-century Vienna but shot in 1948 Hollywood by Max Ophüls with a gorgeous, swooning camera, Joan Fontaine stars as Lisa. Over decades Lisa has had three brief meetings with womanising concert pianist Stefan (Louis Jourdan) – who fails to recognise her every time. Her aching letter gives the film its voiceover as she tells the story of her unrequited, borderline masochistic love: ‘My life can be measured in the moments I have had with you.’ A heartbreaking masterpiece. CCRead more
Director: Terrence Malick
Cast: Martin Sheen, Sissy Spacek
Best quote: 'Little did I realise that what began in the alleys and backways of this quiet town would end in the Badlands of Montana.'
Defining moment: Kit sees Holly ‘standin' on her front lawn, just a-twirling her baton’, as Bruce Springsteen put it in the ‘Badlands’-inspired song, ‘Nebraska’.
There’s a killer on the road
Here’s where the brilliant career of Terrence Malick begins – and even with such epics as ‘The Thin Red Line’ and ‘The Tree of Life’ on the horizon, many still hold the director’s first film as his most perfect. Loosely based on a real-life Texas crime spree perpetrated by young lovers, the movie features a smouldering Martin Sheen as frustrated greaser Kit, and Sissy Spacek as his teenage girlfriend Holly.
Malick swaddles their exploits in a sheen of soft-focus sunsets and the twinkling music of Carl Orff, but the most romantic element of ‘Badlands’ is Spacek’s narration. It’s the naïve and often heartbreaking account of a lonely girl getting a taste of adulthood, sex and the rush of being bad (and in love). She’s wised up by film’s end, yet for most of the journey, we’re seduced alongside her. JRRead more
Director: Jean Cocteau
Cast: Jean Marais, Josette Day
Best quote: 'Love can turn a man into a beast. But love can also make an ugly man handsome.'
Defining moment: As if in a dream, Belle bursts into Beast’s castle, walking on air.
Love is the beauty of the soul
The miracle of ‘La Belle et la Bête’ is how its tricks are still so magical – even in today’s age of CGI. Director Cocteau was a poet first and foremost and he brings to the traditional ‘Beauty and the Beast’ fairy tale pure movie poetry: Belle crying tears of diamonds; the castle lit by disembodied human arms holding up candelabras.
It’s unforgettable, although you might side with Greta Garbo on the ending. Legend has it that when she watched ‘La Belle’ with Cocteau she cried out at the end, as the curse is lifted and Beast is restored to his princely self: ‘Where is my beautiful Beast?’ Garbo, like Belle, had fallen for the matinee idol Beast – and the smarmy-looking prince left in his place doesn’t quite cut it. CCRead more
Director: Woody Allen
Cast: Woody Allen, Diane Keaton, Mariel Hemingway, Meryl Streep
Best quote: 'You look so beautiful I can hardly keep my eyes on the meter.'
Defining moment: The stately black-and-white shots of the city cut to Gershwin’s ‘Rhapsody in Blue’.
A hell of a town
There’s so much in ‘Manhattan’ that’s familiar from Woody Allen’s other films, not least Woody himself playing a writer, Isaac, with endless hang-ups and a variety of women in his life. Here, those women are his 17-year-old girlfriend, Tracy (Hemingway); another love interest, Mary (Keaton); and his ex-wife, Jill (Streep).
For Woody, romance is fluid, complicated and alive. Yet by far the biggest romance in ‘Manhattan’ is Woody’s affair with the city itself. New York is often the backdrop for Woody’s films, but here a sense of place is more important than ever. There are those famous montages of the Manhattan skyline, lent a rare beauty by Gordon Willis’ loving black-and-white photography, and at the film’s climax we see Isaac running through the streets that have shaped him – and Woody Allen – and continue to do so. DCRead more
Director: Jean Vigo
Cast: Dita Parlo, Jean Dasté, Michel Simon
Best quote: 'Paris, Paris! Oh, infamous, marvellous city!'
Defining moment: Jean leaps into the river and sees a vision of Juliette dancing in the water.
Life is but a dream
The French are famed as a romantic nation, but for those of us raised in a more reserved culture, their occasional tendency towards sweaty-crotched Gitane-smoke-in-the-face Gainsbourg-isms can seem a little, well, aggressive. Not so ‘L’Atalante’: this is a love story with the lightest touch, managing to be spiritual, sensual, serious and strange all at the same time.
Its 29-year-old director famously died before his debut feature was completed, but there’s more in this one film than most directors manage in a lifetime: more meaning, more emotion, more intensity. Perhaps it’s the out-of-the-past setting – a narrowboat plying the canals of rural France – or the weirdly disconnected central couple, or even the presence of Simon’s crusty, irascible Pere Jules. But something in Vigo’s film is not quite of this earth, and to watch it is the closest we may ever come to experiencing someone else’s dreams. THRead more
Director: FW Murnau
Cast: George O’Brien, Janet Gaynor, Margaret Livingston
Best quote: 'This song of the Man and his Wife is of no place and every place; you might hear it anywhere, at any time.'
Defining moment: The couple’s first entry into the palace of delights is one of the most breathtaking moments in cinema.
Bright lights, big city
The shift in attitudes over time can make old movies unexpectedly shocking: we expect attitudes to race and gender roles to be different. But ‘Sunrise’ is a film in which a man attempts, fairly brutally, to strangle his wife – and yet by the end she (and we) have completely forgiven him.
Murnau’s masterpiece remains one of the most visually impressive films ever shot. And it’s in the disparity between that visual splendor and the intimacy of the central couple that the film’s power lies: as the quote above stresses, this is a film about anyone, and everyone. The sets and actions in the story may be big, Shakespearian, and occasionally unbelievable, but the emotions are close, human, familiar – ‘small’ in the best possible sense. THRead more
Director: Leos Carax
Cast: Juliette Binoche, Denis Lavant
Best quote: 'Paris can stay in bed.'
Defining moment: Alex and Michele dance along the bridge and waterski down the Seine to a backdrop of fireworks, Strauss and Iggy Pop during a Bastille Day celebration.
Paris when it sizzles
'Les Amants du Pont-Neuf' ('The Lovers on the Bridge') is Leos Carax's valentine to amour fou, Paris and his then-partner Juliette Binoche. And it's as rapturous and irrational as true love itself. Even the story of its production is something of a romantic tragedy: three years in the making and spiralling wildly over budget as Carax reconstructed Paris’s iconic Pont-Neuf Bridge in the south of France, it's the kind of grand artistic expression that must fail in order to succeed.
The simple love story – between two bohemian bums, one a derelict fire-eater and one a painter losing her eyesight – could be the stuff of silent melodrama, but Carax crams it with sound and colour to the point of delirious sensory ecstasy. GLRead more
Director: Baz Luhrmann
Cast: Leonardo DiCaprio, Claire Danes
Best quote: 'A plague on both your houses! They have made worms’ meat of me.'
Defining moment: DiCaprio and Danes making loved-up eyes at each other through the glass and water of a fish tank.
From the Globe to the ghetto
Baz Luhrmann had some cast-iron source material to work with in the form of Shakespeare’s story – but the Australian writer-director took the playwright’s romantic tragedy to another place entirely with this ultra-modern reworking. At the same, he never lost sight of the essence of Shakespeare’s tale of two young lovers doomed from the first time they lay eyes on each other.
The moment that Romeo (DiCaprio, so young!) and Juliet (Danes, so young too!) meet at a wild fancy-dress party is pure bliss to watch, just as Luhrmann’s staging of the final death scene is almost impossible to bear. There are guns, hip-hop, open-topped cars and characters so larger-than-life that the whole thing now, in retrospect, feels like Tarantino directing a season-finale episode of ‘Dynasty’. It’s mad, musical and immensely moving. DCRead more
Director: Michael Haneke
Cast: Emmanuelle Riva, Jean-Louis Trintignant
Best quote: 'Please never take me back to the hospital… Promise… Promise me.'
Defining moment: When Anne suddenly freezes in the kitchen one morning.
Looks like we made it to the end
‘What will survive of us is love,’ wrote Philip Larkin, a poet equally known for being a cuddly old romantic as Michael Haneke, the writer and director of ‘Amour’. In his Paris-set film, Haneke examines what love means when we’re reaching the end of our lives. Haneke gives us Georges (Trintignant) and Anne (Riva), a couple in their eighties who struggle to cope when Anne falls ill from a stroke.
‘Amour’ isn’t romantic in any traditional sense of the word, but it’s steeped in ideas about living life as a couple. It’s deeply thoughtful – and thought-provoking – in relation to what it really, properly means to be with someone all your life, to the end of your life. It’s heartbreaking and totally free of false sentiment. DCRead more
Director: Anthony Minghella
Cast: Ralph Fiennes, Juliette Binoche, Kristin Scott Thomas
Best quote: 'Swoon, I'll catch you.'
Defining moment: The last kiss in the firelit Saharan cave, just after the Count tells the doomed Katherine he’ll never leave her – a promise they both know he can’t keep.
Thanks to ‘Seinfeld’, Anthony Minghella’s Oscar-guzzling, two-planed love story became the butt of many a joke with harder-hearted viewers. But the film’s lingering impression in the public imagination as a kind of saturated desert swoon does a disservice to its subdued yet shimmering sense of melancholy.
For all its sweeping sequences of radiantly lit passion, this adaptation of Michael Ondaatje’s Booker Prize-winning novel is more a story of love’s withered aftermath, as the disfigured Count de Almasy, dying in an Italian monastery at the end of WWII, is ironically sustained by memories of a lethal liaison with patrician married beauty Katherine. For a supposed romantic throwback, it’s impressively bleak, yet tinged with rapture – not least in the matchless beauty of its three leads. GLRead more
Director: Alfred Hitchcock
Cast: Kim Novak, James Stewart
Best quote: 'Only one is a wanderer; two together are always going somewhere.'
Defining moment: Judy finally gets the hair right and ‘Madeleine’ lives once more.
My fair lady
In 2012, this Alfred Hitchcock film was voted the best movie ever made in Sight & Sound magazine’s respected once-in-a-decade poll (knocking ‘Citizen Kane’ off the top slot). James Stewart plays Scottie, a former police detective who is hired by a businessman to track his supposedly wayward wife through the streets of San Francisco. While on the job, Scottie believes that he witnesses the woman’s suicide, sending his fragile mental state into freefall.
This isn’t the ideal film to choose if you’re after simple, uncomplicated romance. ‘Vertigo’ couldn’t be more complex and cunning, but it’s also brilliantly strange and compelling in what it has to say about love and obsession. It operates on a deeply psychological level: those San Francisco landmarks, especially the Golden Gate Bridge, look like nothing less than the byways and highways of a mind pushed to breaking point by the promise – or threat – of romance. DCRead more
Director: Rainer Werner Fassbinder
Cast: Brigitte Mira, El Hedi ben Salem
Best quote: 'We'll be rich, Ali. And we'll buy ourselves a little piece of heaven.'
Defining moment: The scene where Emmi reveals her relationship to her family is a masterclass in awkwardness and character tension.
Many of cinema’s most exciting moments come about as a result of unlikely juxtapositions. Who would’ve thought that taking the structure and form of 1950s Hollywood ‘womens’ pictures’ and transplanting them to grim, urban 1970s Germany would result in one of the sweetest, most challenging and emotive romantic films ever made?
Mira plays Emmi, the solitary, spreading middle-aged cleaner who starts an affair with a Moroccan ‘gastarbeiter’ two decades her junior. What’s remarkable about Fassbinder’s film is that he takes these two diametric characters and makes their love completely convincing – not for a second do we wonder why the strapping Ali cares so much for crumbling Emmi, or vice versa. THRead more
Director: Jean-Luc Godard
Cast: Jean-Paul Belmondo, Jean Seberg
Best quote: 'Informers inform, burglars burgle, murderers murder, lovers love.'
Defining moment: The lovers’ ambiguous parting words in the final scene. What do they mean?
A girl and a gun
As love stories go, 'Breathless' ('À Bout de Souffle') is not one for the ages. Jean-Paul Belmondo, playing a Parisian wideboy on the run after shooting a cop, and Jean Seberg as the hipster American newspaper girl who unwittingly shelters him, look impossibly beautiful together, smoking Lucky Strikes and debating existentialist theory in bed. But they seem entirely too cool to be in love.
Yet Godard’s groundbreaking New Wave take on the Hollywood B-movie is romantic almost in spite of itself. Its still-youthful jazz rhythms, its fresh exploration of Paris at its most invitingly chic and its sexy bedroom talk are what so many of us want romance to look and feel like. So we’re more than happy to indulge it, like the cinematic equivalent of a dirty weekend. GLRead more
Director: Kenji Mizoguchi
Cast: Kazuo Hasegawa, Kyôko Kagawa
Best quote: 'The heavens won’t punish me if, in the final moment of my life, I am unable to hold back these last words: I have always loved you with all of my being.'
Defining moment: In a rickety boat on a midnight lake, on the verge of suicide, two runaways realise they’re passionately in love.
Always look on the bright side of life
Adapted from an ancient Japanese fable, ‘Chikamatsu Monogotari’ sees master director Kenji Mizoguchi prove his worth alongside the likes of Shakespeare and Thomas Hardy as an all-time master of the populist romantic tragedy. It’s the tale of a simple clerk, Mohei (Hasegawa), who does a slightly crooked but well-meant favour for the boss’s wife, Osan (Kagawa), and, in the ensuing fallout, is forced to go on the run with her, accused of adultery, for which the penalty in seventeenth-century Japan was public crucifixion.
So begins a thrilling, devastating journey through the hinterland, as the forces of propriety and tradition band together to frustrate the lovers’ happiness. Unabashedly sentimental but rich with meaning and subtle purpose, Mizoguchi’s film teaches us that one moment of reckless love is worth more than a lifetime of socially approved loneliness. THRead more
Director: François Truffaut
Cast: Jeanne Moreau, Oskar Werner, Henri Serre
Best quote: 'One is never completely in love for more than a moment.'
Defining moment: Catherine throws herself into the Seine.
Three’s a crowd
Truffaut’s freewheeling tale of a menage à trois burns as brightly today as it did in 1962, tripping along on playful New Wave energy. Moreau is unforgettable as force of nature Catherine, who steals the hearts of two young writers in 1910s Paris. Catherine is Jules’s girl. She’s not beautiful or intelligent, but she is a real woman, he says. The three skip around Paris together. Life’s a holiday.
One night, as the two men spout nonsense about a Strindberg play, Catherine hurls herself into the Seine. She’s unpredictable like that. Later, when she switches allegiances to Jim, Jules can’t bear to be apart from her. Let Jim have her, but let her stay in his life. The years can’t dim the warmth or humanity of Truffaut’s third (and best) film. CCRead more
Director: Jean-Jacques Beneix
Cast: Béatrice Dalle, Jean-Hugues Anglade, Gérard Darmon
Best quote: 'There comes a moment when the silence between two people can have the purity of a diamond.'
Defining moment: The single-take opening, a full-on naked shagfest, sets the tone of uninhibited passion.
Vive la difference!
Amour fou: the French invented the term and this shows you why. In her very first movie, the 21-year-old Béatrice Dalle delivered a career-defining performance which transcends mere pouting petulance to embody a wide-eyed, crockery-smashing, blade-wielding, bush-flashing rage to live. Struggling writer Anglade does his best to provide the unconditional affection she craves, but will anything be enough to quieten Betty’s inner torment?
Quintessentially French, quintessentially ’80s, as ‘Diva’ auteur Beneix revels in an eye-popping palette of electric blues, neon yellows and lipstick crimson. Tellingly, it’s best experienced in the deliriously grandiloquent 186-minute director’s cut rather than the more familiar but deeply compromised two-hour release version, which struggles to make sense of Betty’s extreme psychology. TJRead more
Director: Wim Wenders
Cast: Bruno Ganz, Solveig Dommartin
Best quote: 'That's what makes me clumsy. The absence of pleasure. Desire for love.'
Defining moment: She flies through the air with the greatest of ease, that lonely young woman on the flying trapeze.
From her to eternity
Long before his face became part of a thousand ‘Downfall’ memes on Youtube, Bruno Ganz played an angel in love with a mortal trapeze artist in West Berlin, in Wim Wenders’s romantic metaphysical fantasy. Employing a similar coded combination of colour and black and white to Powell and Pressburger's ‘A Matter of Life and Death’, the celestial perspective is purer but more remote, asking us to consider the appeal of everyday humanity from the outsiders' point of view.
Check out the loose Nicolas Cage remake ‘City of Angels’ if you'd like to see a Hollywood spin on the same big questions (‘Never date a man who knows more about your vagina than you do.’). CBRead more
Directors: Stanley Donen, Gene Kelly
Cast: Gene Kelly, Debbie Reynolds, Jean Hagen
Best quote: 'Here's one thing I learned from the movies!'
Defining moment: When Kathy (Reynolds) jumps out of a cake in front of Don (Kelly) at a party.
The story of the transition from silent movies to the 'talkies' has created a sub-genre all of its own, including movies from 'Sunset Blvd' (1950) to 'The Artist' (2011). Here, it's a light-hearted affair set in the late 1920s as silent star Don Lockwood (Kelly) bumps into Kathy Selden (Reynolds), a chorus girl, when he leaps into her car and she pretends to be a serious actress.
It's a classic case of chilly antagonism thawing into true love as Don and Kathy finally fall for each other and become colleagues when his studio wants to make a talking picture and she has to step in to replace the unappealing voice of movie star Lina Lamont (Hagen). But more famous than any romance, surely, is the opening-credits song-and-dance sequence of Kelly and co performing the title tune? DCRead more
Director: Jane Campion
Cast: Abbie Cornish, Ben Whishaw
Best quote: 'In what stumbling ways a new soul is begun.'
Defining moment: The unpromising first meeting between Fanny Brawne (Cornish) and John Keats (Whishaw) is so spiky and sweet it’s like a screwball comedy in period dress.
A wild surmise
Sometimes the line between disaster and perfection is alarmingly fine. By all rights, ‘Bright Star’ should’ve been awful: a simpering love story between a fey poet and a bolshy society girl, all bulging bodices and whispered nothings. But then Jane Campion grabbed the reins as director, and produced perhaps the most intense and mesmerising romantic film of the century so far, a gorgeous, gossamer-light look at love as living poetry.
The Georgian trappings are beautifully designed, but they’re never allowed to overwhelm the story: this could’ve been shot in sackcloth on a sound stage and it would still have been deeply moving. The two leads are wonderful, but the real acting honours are unexpectedly stolen by Paul Schneider as Keats’ colleague Charles Brown, whose snappy Scots irascibility somehow allows the central romance to shine out all the brighter. THRead more
Director: Fatih Akin
Cast: Birol Ünel, Sibel Kekilli, Catrin Striebeck
Best quote: 'Are you strong enough to stay between me and her?'
Defining moment: Devil-may-care Ünel celebrates his newfound love by shredding his hands in broken glass and dancing bloodily on stage with a Turkish dance band.
Judging by his ravaged-rocker looks, Turkish-born, Hamburg-resident Birol Ünel is heading for oblivion by the scenic route – drink, drugs, sex, argy-bargy – and that’s before he drives his car head-on into a wall. The last thing he needs while recovering in a psychiatric unit is an offer of marriage from fellow patient Sibel Kekilli, another Turkish-German misfit of equally volatile temperament.
The mayhem which follows has a lot to say about the travails of growing up between two cultures – one ultra-liberal, the other repressive – but amid all the rage, blood and aggro of a truly headbanging storyline, there’s a profoundly moving recognition of the power of love to bring meaning and commitment where previously only existed substance-fuelled nihilism. A stone-cold modern classic. TJRead more
Director: Philip Kaufman
Cast: Daniel Day-Lewis, Juliette Binoche, Lena Olin
Best quote: 'I don't understand how someone can make love without being in love.'
Defining moment: Lena Olin clambers over a mirror, reflecting the film's running theme of solitary sexuality.
Je t’aime... moi non plus
Some of the greatest love stories hinge on denial rather than devotion. Philip Kaufman's shiveringly erotic adaptation of Milan Kundera's 1968-set novel – which many thought too tangled up in its characters’ psychologies to be filmed at all – is remarkable for the romance it builds around a man with no desire to be in love.
Daniel Day-Lewis is ideally cast as Tomas, a young Czech surgeon whose pursuit of an emotion-free sex life is fostered and challenged, respectively, by Lena Olin's uptown artist and Juliette Binoche's sincerely adoring country waif. Between and beyond this brittle love triangle are some of the sexiest sex scenes ever put to celluloid, as the Prague Spring withers and the true cost of free love is learned. GLRead more
Director: Jean-Luc Godard
Cast: Jean-Paul Belmondo, Anna Karina
Best quote: 'I think your legs and breasts are very moving.'
Defining moment: When Belmondo and Karina flee from a burning car.
Bonnie et Clyde
This anarchic romance was made by French New Wave filmmaker Godard at the height of his powers and starred his then-girlfriend Karina and Belmondo, the thick-lipped, brooding star of his earlier ‘Breathless’. It foreshadows ‘Bonnie and Clyde’ in its story of a beautiful, lawless couple leaving polite society behind and going on the run, from Paris to the Med, pursued by gangsters.
It’s a cluttered burst of colours, ideas and emotions – a frantic essay on real life and movie life that overflows with energy and heady thoughts. It looks and feels like an outlaw romance, with Karina and Belmondo bringing style and attitude to the table, but it’s also a strongly experimental work made by someone determined to shake up cinema and the world. That itself is pretty romantic, no? DCRead more
Director: Miguel Gomes
Cast: Ana Moreira, Carloto Cotta
Best quote: 'It was from a dream...'
Defining moment: The heady strains of 'Be My Baby' filtered through colonial Africa.
Passionate exploration becomes possessive colonisation in both an African plantation and a series of romantic relationships in this playful two-act (plus prologue) tragicomedy from former film critic Gomes.
‘Tabu’ insures itself against the risk of coming across as insincere or twee via the cunning expedient of first showing us what will become of its gorgeous leads at the hands of that old inescapable: time. No amount of arch sound design, renegade crocodiles and fish-out-of-water doo-wop bands can offset the foreknowledge of the eventual destinies of steamy star-crossed couple Aurora and Ventura in contemporary Lisbon. CBRead more
Director: Jean Genet
Cast: Java, André Reybaz, Lucien Sénémaud
Best quote: no dialogue
Defining moment: Phallic substitutes (flowers, cigarettes, a pistol) we expect in a film from 1950, but full-on tumescence we don’t.
Let yourself go
Jean Genet had already been discharged from the French Foreign Legion for indecency, bummed around Europe as a thief and rent-boy, and forged a strong literary reputation before he made this silent, clandestinely-shot 26-minute short in 1950. It’s a potent combination of the raw and the poetic, as male prisoners writhe under the lustful eye of a peeping guard, dreaming of encounters metaphorical and corporeal.
Its explicit gaze is still pretty eye-popping by conventional standards, and in 1966 a California court banned ‘Un Chant d’Amour’, pronouncing it ‘cheap pornography calculated to promote homosexuality, perversion and morbid sex practices’. Needless to say, it became an underground sensation (though nowadays it’s on Youtube), and a touchstone for future film-makers including Kenneth Anger, Rainer Werner Fassbinder and Todd Haynes. TJRead more
Director: Vincent Gallo
Cast: Vincent Gallo, Christina Ricci
Best quote: 'You adore me, you love me, you cherish me. Jesus Christ you can't live without me.'
Defining moment: Ricci's fantasy tap dance in a deadbeat bowling alley.
I wanna be adored
Nothing about Gallo's winningly strange debut feature approaches romance in a fashion most viewers are likely to recognise, or even desire. Stockholm Syndrome is a tricky concept at the best of times, and when the captor is Billy, a maladjusted, abusive ex-con played by Gallo, it's fair to say our perceptions of love's limits and limitations are being tested.
Yet as Layla, the zoned-out tap dancer Billy kidnaps so she can pose as his wife at his ghastly parents' house, gawkily luminous Ricci somehow persuades us that there's something to be saved in this lonely wastrel – though probably not in their bizarre relationship. It's a love we can believe, even if we can't quite believe in it. GLRead more