1971-1980

IMDb review:
Although it isn’t too surprising that “Rapists At Dawn” is banned in it’s native land, I’m not sure why it isn’t available elsewhere. It’s counterparts, like “Last House On the Left,” “House On the Edge of the Park” and “I Spit On Your Grave” etc are out there for commercial consumption. What makes Dawn more disturbing isn’t the graphic nature, as the film never ventures into hardcore territory; but the sheer amount of rape and violence. This is one nihilistic and angry film. The four youths depicted are like a gang of hyenas, raping and beating random women with utterly no sense of guilt or remorse. And it just goes on and on. Read More »

“Red Apple” – a chronicle of a few days in a small family, a story about the difficulties of human contacts, the complexity of love. The image of red apples – strong and clear, profound and lucid. Okeyev’s “apple” bears a special meaning. Juices of the earth and sun, it is a lyrical symbol of happiness and harmony. (kyrgyzfilm.kg)Read More »

Hiver 1977. Anne-Marie Mieville, Alain Tanner, Loretta Verna et Francis Reusser réalisent chacun, à l’aide de films super 8 mm et de vidéo étroite, une oeuvre personnelle pour l’émission Ecoutez voir.

Ce film d’Anne-Marie Mieville est diffusé le 18 novembre 1977, sous le titre Papa comme maman. C’est le volet de la série. Anne-Marie Mieville s’attache au thème singulier de la violence des parents sur leurs enfants. Père et mère peuvent chacun faire subir une violence cachée dans l’univers de la famille.Read More »

Ali and his father go from their poor neighborhood in the outskirts of the city to a hospital so that Ali’s father can be treated for his sickness. However since they have no money, Ali starts to work for Dr. Sameri who deals in blood.

Awards:
Won Berlin International Film Festival 1978 FIPRESCI Prize (Forum of New Cinema)
Won Berlin International Film Festival 1978 OCIC Award (Forum of New Cinema)
Iran’s submission to the 50th Academy AwardsRead More »

Plot
Anteojito is a poor orphan 10-years-old boy who lives with his Uncle Antifaz in an apartment house in a city named Villa Trompeta. Uncle Antifaz tries to invent an invisibility formula with Anteojito’s help, and Cachavacha, a witch and Uncle Antifaz’s neighbor who lives in the apartment right under his, tries to steal it as revenge for to his explosions destroying her apartment. Anteojito sells some balloons and meets his friend Buzoncito, a little red mailbox. The balloons he was selling escape when he argues with a group of brats who mocked him. The circus comes to town and he helps out a friendly clown and his sick daughter by posing as a second, singing, clown. Read More »

The life of Pedro Arcanjo, self-taught mestizo intellectual who in the first decades of the XXth century challenged racist ideas of the School of Medicine of Bahia and highlighted the importance of the blacks’ contribution to Brazilian culture.Read More »

Commissioner Bonavia has hygiene-obsessed mafioso Lipuma release from the insane asylum where he has been incarcerated for the past six years knowing fullwell that Lipuma’s first action once released will be to make an attempt on his former rival Dubrosio’s life.

Indeed this is what Bonavia, who is pursuing his own personal vendetta against Dubrosio is counting on; he knows that there is no point in pursuing legal channels when just about the entirety of the Palmero administration and judiciary is in league with Dubrosio.Read More »

As his first assignment, lieutenant Drogo is sent to an isolated fortress on the borders of a desert and of a range of high mountains. The mission of the garrison is to prevent a possible incursion by the fearsome Tartars, coming from beyond the desert. Some fellow officers are eagerly awaiting an attack; some no longer want to believe in it; others take advantage of the vague threat to further their career. All of them are sacrificing everything — health, youth, friends, family — for a distant military ideal: leading the defence against the onslaught of the enemy. But in the vast emptiness surrounding the fortress, nobody has ever sighted the Tartars…Read More »

With Four Women, renowned filmmaker Julie Dash collaborated with dancer Linda Martina Young to interpret Nina Simone’s song “Four Women.” Made during her studies at UCLA’s film school, Dash used “kinetic camerawork and editing, richly colored lighting, and meticulous costume, makeup and hair design . . . together with Young’s sensitive performance to turn longstanding Black female stereotypes to oblique, critical angles”—Jacqueline Stewart.Read More »