BREATHLESS (1983)
1983, MGM/Park Circus, 97 min, USA, Dir: Jim McBride

After killing a cop, reckless drifter Jesse (Richard Gere) goes on the run, stringing French architecture student Monica (Valerie Kaprisky) along with him in this surreal reimagining of Jean-Luc Godard’s classic A BOUT DE SOUFFLE. Both thrilling and stylistically unique, director Jim McBride’s steamy crime drama features a stellar score by legendary composer Jack Nitzsche (THE EXORCIST, AN OFFICER AND A GENTLEMAN) and music from Brian Eno, Philip Glass, and Johnny Lee Lewis. Dense with thought-provoking filmic cross-referencing, BREATHLESS is a film that seductively engrosses both the casual moviegoer and the avid cinephile. “This is the kind of movie for which you need your Filmgoer's Companion.” -Roger Ebert.


LOOKING FOR MR. GOODBAR
1977, Paramount, 136 min, USA, Dir: Richard Brooks

A young, sexually unsatisfied school teacher (Diane Keaton) begins a wild string of late-night romps with increasingly dangerous men including disturbed thug Tony (Richard Gere) - the most dangerous of them all. This brooding, lurid adaptation of Judith Rossner's best-selling novel follows one woman on a desperate search for fulfillment, and is shockingly based on the true life of a New York City schoolteacher. Keaton’s stellar, subtle performance earned her a Golden Globe nomination for Best Actress.


AMERICAN GIGOLO
1980, Paramount, 117 min, USA, Dir: Paul Schrader

Julian Kaye (Richard Gere) is a suave, Armani-clad prostitute embroiled in a steamy affair with a senator’s wife (Lauren Hutton) when he becomes the prime suspect in the murder of one of his previous clients. Helmed by RAGING BULL scribe Paul Schrader, this stylish, ’80s-chic crime drama is driven by Gere’s layered portrait of the vulnerable, hopelessly empty playboy. “Call Me,” the endlessly catchy Blondie theme song written for the film, is both a literal reference to the protagonist’s work as a callboy and an allusion to the brilliantly rendered, desperate yearning for human connection that underlies practically every relationship in this seminal film.


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