1971-1980

After witnessing a murder committed by her boyfriend’s brother, a young woman must choose between the love and the law.Read More »

Quote:
In Bernardo Bertolucci’s art-house classic, Marlon Brando delivers one of his characteristically idiosyncratic performances as Paul, a middle-aged American in “emotional exile” who comes to Paris when his estranged wife commits suicide. Chancing to meet young Frenchwoman Jeanne (Maria Schneider), Paul enters into a sadomasochistic, carnal relationship with her, indirectly attacking the hypocrisy all around him through his raw, outrageous sexual behavior. Paul also hopes to purge himself of his own feelings of guilt, brilliantly (and profanely) articulated in a largely ad-libbed monologue at his wife’s coffin. If the sexual content in Last Tango is uncomfortably explicit (once seen, the infamous “butter scene” is never forgotten), the combination of Brando’s acting, Bertolucci’s direction, Vittorio Storaro’s cinematography, and Gato Barbieri’s music is unbeatable, creating one of the classic European art movies of the 1970s, albeit one that is not for all viewers.Read More »

Quote:
George and Betty, a middle-class English couple, have just moved into a big Edwardian house in London and are throwing a party to celebrate. Unfortunately, after ten days none of their furniture has arrived, having been sent to Carlisle by mistake, three of the four toilets don’t work and cracks are starting to appear in the ceiling. However, nothing can dent their determination to have a good time.Read More »

Synopsis:
Everything Everywhere Again Alive is a landmark work of Canadian underground cinema, a film diary with mystic and symbolic overtones. In the early 1970s, Toronto filmmaker Keith Lock moved to Buck Lake, where members of the Toronto art scene were undertaking an experiment in communal living. Lock filmed the achievements and daily rituals of his fellow communards, his camera bearing witness as a community assembled and dispersed. The resulting film uses poetic strategies, including logograms and other graphic disruptions, to extend its themes of renewal and rebirth, and to mark the encounter between reason and imagination, the concrete and the abstract.Read More »

A mercernary sets out to assist a tribal chieftain to defeat the chieftain’s brother who is now an opponent and an enemy.Read More »

From ce-review.org
Menzel could not work in films for some time after Skřivánci na niti. It was a period when he had to decide if he would accept the rules dictated by the regime or leave his profession yet keep his “artistic freedom.” This difficult situation was also faced by other members of the Czech New Wave. Miloš Forman, Jan Němec and Ivan Passer decided to emigrate, while Věra Chytilová and Evald Schorm stayed in Czechoslovakia even though they could not work as film directors (Chytilová for seven years, Schorm for 17 years).Read More »

Gunilla and her friend Nora move in together.They are planning a threesome with Nora’s boyfriend. Downstairs lives Britt.She is renovating antique toys.Read More »

On a secluded farmhouse in Castile and León, Luis is reuinted with his estranged daughter, Elisa after a 20-year separation. On the farmhouse, Luis writes what appears at times to be both an autobiography and a novel. The book is played out, with memories of the past, such as when Luis walked out on his family and is mixed with fantasies about Elisa’s adult life as well as her failed marriage.Read More »

Quote:
Pastorali explores what is truly valuable in human relationships, when one cuts away the non-essentials. The story shows what happens when a highly cultured group of musicians from a string quartet spend the summer rehearsing in a small village in the Georgian countryside. In this contemplative, idiosyncratic and somewhat humorous film, they get embroiled in local controversies, and share their gusto for living, loving and drinking with the villagers, to whom they are otherwise incomprehensible, while they rehearse and bicker among themselvesRead More »