Jeremy Urquhart is a writer at Collider who focuses on the Godzilla series, the films of Martin Scorsese, and anything in the action genre.
The 1990s was a decade that saw the release of some all-time great movies, many of which are justifiably praised and popular. But not every great film of the 1990s is approachable, necessarily, as becomes apparent when looking at some of the best arthouse films to come out in that decade. These movies aim to challenge and provide unique experiences, with arthouse cinema as a whole being something special because of the unconventional and unpredictable titles found within.
A certain amount of mystery is also present in The Double Life of Véronique, but it’s not so much about giving viewers answers as it is proving a distinctive cinematic experience. Some might reject the vagueness and the way it subverts certain narrative conventions, but others will likely find that to be what makes The Double Life of Véronique work, or at least feel sufficiently out of the ordinary to make an impact.
7 'Blue' Director: Derek Jarman While Close-Up seems like it might push the boundaries of what a film can be more than just about anything else, 1993’s Blue gives it a run for its money in this department. Instead of feeling like several different things at once, Blue challenges cinematic conventions by having no visuals beyond a blue screen for just under 80 minutes. That screenshot above? That’s all you see for the entire film.
Europa R Postwar Germany, 1945. Leopold Kessler, an American of German descent, works as a sleeping car conductor for the Zentropa railway line. When he meets Katharina Hartmann, the railroad owner’s daughter, and they fall in love, his life intersects with the dark and violent path of a mysterious organization opposed to the United States army military occupation.
The film is a slow, downbeat, and sometimes painfully realistic look at one woman’s grieving process following an unthinkable tragedy. Three Colours: Blue is a character study through and through, and proves about as powerful as character-focused drama films can get. It’s less easy to revisit than the other two movies in the Three Colours trilogy, but it might be the most moving and blunt of the bunch, and it definitely leaves an impression.
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