1971-1980

At the end of 1970, the Filmmuseum in the City Museum of Munich showed a small Sirk retrospective (six productions from All That Heaven Allows to Imitation of Life). Fassbinder watched all of the films in this showcase and was deeply moved: “That really breaks you up in the movie theater. You understand something about the world and what it is doing to you.” This cinematic experience must have been a revelation for him. He described his impressions vividly in an extensive essay, and came to the conclusion: “I have seen six films by Douglas Sirk. Among them are the finest films in the world.” The young filmmaker went to visit the Hollywood veteran, who was now living in the Swiss canton of Ticino. And when the almost eighty-year-old director was teaching at the Munich Academy of Television and Film (HFF/M), Fassbinder took on one of the parts in an academic production that Sirk was supervising. (He played in Bourbon Street Blues, the film adaptation of a one-act play by the well-known writer Tennessee Williams). Sirk’s work experienced a renaissance, not least of all thanks to Fassbinder’s essay, but the influence Sirk exerted on him has nevertheless been somewhat exaggerated.Read More »

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[…]The Hunters (1977), a thematic epilogue to the historical trilogy that centers on a group of middle-aged hunters who discover the perfectly preserved, 30 year-old frozen remains of a partisan (bearing an uncoincidental resemblance to the Byzantine image of Jesus Christ) and, compelled to deliberate on its ‘proper’ disposition, spend a haunted, restless evening confronting their past. Set in post-junta era Greece, the film is a contemporary allegory on the nation’s deliberate suppression of painful and unflattering history and collective deflection of personal accountability.Read More »

Encouraged by Fassbinder, with whom he became friendly after the then-enfant terrible of the German cinema visited him in Lugano, Sirk also did some teaching during the late 1970s at the film school in Munich, where he made three short films with his students. Sprich zu mir wie der Regen was the first of these films supervised by Sirk.Read More »

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“Filmed in 1964-1968. Edited in 1978. The material for this film is footage that didn’t find a place in the WALDEN reels. Some of it begins in between LOST, LOST, LOST and WALDEN. It’s mostly New York, and some travel footage. The City friends: Richard Foreman, Amy Taubin, Mel Lyman, Peter Beard, David Wise, Andrew Meyer, Salvador Dali, Jerome Hill, David Stone and Barbara Stone, my brother Adolfas filming DOUBLE BARRELLED DETECTIVE STORY, Diane di Prima, Allen Ginsberg, Norman Mailer, Ed Sanders, Gordon Ball, Henry Romney, Jack Smith, Shirley Clarke, Louis Brigante, Jane Holzer, etc. etc. It’s a period piece. The sounds were recorded about the same time. Bits of radio music, bits of records, my own voice, and voices of my friends. Mel Lyman playing playing banjo on the roof on 23rd Street was actually recorded on the roof, with the wind blowing into the mike.” -Jonas MekasRead More »

Felipe Cazals adapted the novel of Jose Revueltas that he Wrote in Lecumberri prison and displayed the corruption model of the Mexican system in jail, with his usual style of show cruelty in its greatest expression Felipe Cazals was supported this time with an extraordinary assembly of actors which intensity make convincing all he tried to show in the film, Manuel Ojeda,which head appear for the only hole in the Apando where they are prisoners,(this scene remind me Steve McQueen in Papillon) Salvador Sanchez and Jose Carlos Ruiz as the prisoners who traffic drug in the jail get in the film one of the best acting I ever seen in Mexican films until those years, Maria Rojo and Delia Casanova transmitted with naturally and freshmen the simplicity of the low-media Mexican class women, both suffer the denigrates methods of auscultation before enter at jail as visitors.Read More »

From Hong Kong International Film Festival:
Bernal’s impressive debut feature confirmed him as a prominent filmmaker who was not only capable of orchestrating a striking narrative, but also one that revealed the hypocrisy permeating the carnivalesque affairs of filmmaking. The story follows Ching, a stripper, who performs to the lustful stares of her patrons. Discovered by an idealistic film director, she rises to stardom and takes her lover Pinggoy, a taxi driver, into show business. Scrambling to the top, they reap fame and forture only to find tragedies awaiting. Bernal has made startlingly accurate observations of the dichotomies facing Philippine cinema and society, winning Best Film of the Decade in the country’s prestigious Gawad Urian Awards.Read More »

Two Vietnam deserters go their separate ways, become criminals and are eventually reunited.Read More »

A sequel to ‘LAST BUS’, this semi-dramatised documentary looks at what the subsequent history might have been of the boys in the gang that attacked the conductor in Last Bus, what might have caused the boys to behave in the way they did, and what the nature of their punishment will be.Read More »

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An extraordinary debut from one of Hollywood’s most bankable UK ex-pats, Tony Scott’s Loving Memory (1970) follows an isolated brother and sister who live with their memories and a grisly secret. Critically acclaimed on its release Loving Memory was beautifully photographed by celebrated cinematographer Chris Menges – who captures perfectly the misty mystery of the Yorkshire moors – and feature a stunning, sinister performance from Rosamund Greenwood (Village of the Damned, The Witches) as a haunted innocent.Read More »