1971-1980

Hani’s subsequent work, Morning Schedule , combines his interest in contemporary youth with his continued interest in modern women. The story deals with two high school girls who decide to take a trip together. The fiction feature, which is narrated, was filmed in 8mm and each of the major actors was allowed to shoot part of the film. Further, the audience is informed of who is shooting, thereby acknowledging the filmmaker within the context of the work. The use of 8mm is not new for Hani. More than half of his fourth film was originally shot in 8mm. Likewise, the use of a narrator dates back to A Full Life. Throughout his career, Hani has concerned himself with people who have difficulty in communicating with one another. His documentaries, narratives on social problems, and dramas on emerging women have established his reputation as one of the foremost psychologists of the Japanese cinema.Read More »

A man falls in love with a stranger woman. The woman has her young lover whom she secretly dates in an uninhabited house. The man discovers that the subject of his affection is in fact his friend’s wife and in despair takes his own life.Read More »

Two killers revenge a wirepuller of the underworld in Yokohama.

Almost no information online.Read More »

Quote:
Born in 1901, Mikhail Romm took part in the Bolshevik Revolution, the Civil War, and World War II. His landmark films Nine Days of One Year (1961) and Ordinary Fascism (1965) embodied the intellectual discourse and discontent of the 1960s, influencing an entire generation of Thaw filmmakers, including Andrei Tarkovsky, G. N. Chukhrai, Marlen Khutsiev, and Elem Klimov. Following Romm’s untimely death during the making of …And Still I Believe, his former students Khutsiev and Klimov completed this remarkable film montage, a personal journey across 20th-century history and the clash of civilizations told, in part, through Romm’s own diary entries and gripping historical footage.Read More »

UFOs appear on Earth, and people who actually see them suddenly find that their blood has turned blue. Soon panic and hysteria result in the new “blue-bloods” being persecuted by the rest of mankind, and eventually certain all-too-familiar measures begin to be taken against them.Read More »

Quote:
An adults-only entry to Hong Kong’s new-wave film movement, House of the Lute is elegant and engaging. The classy production is accompanied at all times by sounds of a lute – a dynamic instrument adding audio punctuation marks and exclamation points throughout the course of the story. A television set features prominently in the second half and adds interest. Aside from providing the advertising spiel for the famed Darkie toothpaste brand, the TV also brings additional issues to the screen. It appears no coincidence that a forced sex scene between Shek and a less-than-willing Mrs Lui plays against a news report of Hong Kong’s rising social ills, notably rape and murder. Later, a local farmer brushes aside books and smashes away antique pottery to better view the TV – akin to how Hong Kong has bulldozed heritage in its hurtling drive for urban modernity. House of the Lute lends itself well to retrospective viewing.Read More »

Quote:
Takeru (Renji Ishibashi), a young rebel, is travelling alone in the North of Honshu. He once used to practice pole vaulting but he gave up and became a robber. Along his trip he crosses the path of a young couple doing a performance for a super market. Fascinated by both of them but probably a bit attracted by the mysterious silent girl (Kaori Momoi), he decides to follow them. He starts to realize that they have no other means of communication than their hands and gestures. One night, some young laborers from the town kidnap the girl and rape her. The next morning, Takeru and his friend (Tenmei Kanō) head to the mine in order to find the girl and avenge her.Read More »

A sculptor hires young college girls to take care of his elderly mother and his supposedly insane sister, both of whom live in the old family mansion with himRead More »

Synopsis
A filmmaker witnesses an act of racist police violence in Paris. He discusses with a lady whether and how he should make a film out of this.

Gossip: Vautier wrote the script for this short film in 1957 already and wanted to shoot it. Yet he couldn’t find an actor. All those he asked saw their respective main directors represented in the piece and didn’t want to take the risk of offending them. So only 17 years later Vautier shot the film – and played the role himself…Read More »