1971-1980

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Distributed by L’Italnoleggio Cinematografico, with Sven Lasta, Rada Rassimov, Claudio Volonte, Jean Martin, Milena Vucotic
Presented at the Venice Biennale 1974.
Segnalazione ufficiale della Critica Cinematografica (SNCCI)
Winner of the Nastro d’Argento 1975.
Presented at the Festival du Jeune Cinéma de Toulon 1975.
Presented at the Festival of New Delhi 1976.
Presented at the Italian Film Festival in London (British Film Institute) 1976.
Invited to the Festival of Valladolid 1975.Read More »

Synopsis:
Darvish Khan, a deaf-mute shepherd living in the desert, has a mystical vision in a dream in which he encounters a saint. When he awakens, he finds himself clutching a large stone. Grateful for the vision, he aims to pay homage and begins to construct an unusual monument in its honor. After his wife tells a neighbor that it is miraculous place, news of his ‘garden of stones’ spreads and people from neighboring villages come to see it. The result wreaks havoc upon Darvish Khan’s life. Bagh-e Sangi won the Silver Bear prize for the best film at the 1976 Berlin Film Festival and was shown at the Tehran, London and Paris film festivals. It was recently included at #20 on a list of the 27 best Iranian films, as selected by 14 Iranian directors for the 2014 Fribourg International Film Festival.Read More »

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Two crooks flee in a stolen Ford Mustang. they have stolen it from the husband of the girl they rape in the forest. They take her with them to their refuge, a nice modern villa in the countryside. Here, their boss or protector is not so pleased with this girl: this was not planned. But his wife (the one with curly hair) is a lesbian, so she is very pleased with the girl, who has sex with everyone (the two crooks, the boss, his wife, her maid, the girlfriends of the crooks). At the end, the boss hires a killer, who kills the two crooks. And before we reach that scene, there is a long orgy scene with obsessive music, another surprising editing by BénazérafRead More »

Focusing on the culture and beliefs of the people in the state of Minas Geraes in Brazil, this highly innovative drama by director Carlos Alberto Prates-Correia continuously blurs the line between fantasy and reality. At center stage is a man and his life, viewed from the perspective of his dreams, visions of the past, interpretations of the present, and a “real” world somewhere in-between. Cultural and social vignettes from life in Minas Geraes are interspersed throughout the film; the avant-garde approach of Prates-Correia contorts some of these vignettes into enigmas.Read More »

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A relic of the Popular Unity period where we find a teacher talking to himself about the horror of the education system; the hard heartedness of the far right; the frivolity of the left; and a legion of the downtrodden. It is a film about verbal violence; life as a soap opera; and such dreams as mediocre movies are made on. Indecipherable to the world, but a Rosetta Stone for Chilean hieroglyphs.Read More »

– Sachiko has just committed a crime. She is helped by a couple to whom she grants her confidence. Quickly this couple blackmails her and threatens to deliver her to the police. Sachiko has no other choice but to obey them. –Read More »

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Veteran director Bob Chinn gets credit, albeit likely more for his role as creator of the Johnny Wadd character and series than any actual input to the film in question. With the always stunning Leslie Bovee given a run for her money by the equally gorgeous Annette Haven, pretty Desiree West and even Thorpe’s Halloween dress-up domme providing sufficient aesthetic focus, the film is possessed of a more appropriate streetwise feel than the fairly iffy lead feature. Suffused with mood lighting and 70’s cop show trope and feel, Colberg graduates from the more static VFW Hall and hotel room filming of All Night Long to a far more location heavy, clearly cinematographic and more highly budgeted affair playing into and lending sufficient weight to Wadd’s tracking down of “sex ritual murderer” the “Black Widow”.
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Nico is an ethereal poet haunting the gaps between scenes of Jean-Pierre Kalfon, Bulle Ogier, Laurent Terzieff, and Garrel’s father, Maurice, discussing the filmmaker’s staple topics: love, psychoanalysis, and the failures of May ’68.Read More »

“With this film I returned to the world of Tres tristes tigres, to some people, in this case writers, who live in their own reality and believe that it is, in fact, Chile.” Raul RuizRead More »