1971-1980

Quote:
Count Dracula moves from Transylvania to Wismar, spreading the Black Plague across the land. Only a woman pure of heart can bring an end to his reign of horror.Read More »

Summary from filmaffinity:
On a beach in Barcelona, the body of a young man is discovered. His face eaten by fish, tattooed on his arm is the phrase: “I was born to revolutionize hell”. So begins a strange enigma. To start with, a name, an identity for this dead man must be found. This is the task facing Pepe Carvalho, Galician detective, former CIA agent and professional skeptic, none of which prevents him from enjoying and savoring the pleasures of good food and good sex. In the underworld of Barcelona and in the streets and canals of Amsterdam. Carvalho is soon coming up with some answers.Read More »

Quote:
Just released from prison, a young woman arrives in town to “start a new life”, but soon begins stalking a married construction worker for no apparent reason, turning his life inside out and eventually terrorizing him and his wife.Read More »

Synopsis:
In 1896, three whalers are stranded in the Arctic North Canada and seek refuge with an Eskimo tribe. Gradually they gain control with the Eskimo village and introduce gambling, booze, theft and their special variation of sex. In the beginning, the Eskimos accept it but slowly the cultural tension starts growing.Read More »

The series really hits its stride by the third film, Nami, which is both the artistic pinnacle of the Angel Guts cycle and a roaring good time for devotees of outrageous cinema. A spate of sexual assaults motivates tenacious reporter Nami (Kanuma) to investigate the victims and the circumstances of the crimes, but her probing leads to the awakening of some very dark impulses within herself. Chasing down the girls with her crew and indulging in masturbatory bathtub fantasies afterwards, Nami eventually crosses the line when she prods one subject into sheer insanity. Read More »

Kakabakaba Ka Ba? (lit. Does Your Heart Beat Faster?) is a 1980 musical-romantic comedy film produced by LVN Pictures (in its last offering) in 1980, with Mike De Leon as director.

The film revolves on two couples who found themselves in conflict with the foreign commercial giants that control the Philippine economy, the Japanese and the Chinese. Moreover, it involved the Catholic Church which has a stranglehold on the Philippine society itself. The film reflects on the Philippine economy and society being primarily controlled by other forces for their own benefits and become instruments in performing illegal activities. Actors Christopher de Leon, Sandy Andolong, Jay Ilagan and Charo Santos starred as main cast in the film, while Johnny Delgado and APO Hiking Society’s Boboy Garovillo portrayed as main villains.Read More »

An extremely dense translation to film of Raymond Williams’ 1973 book of the same title which traces images of ‘nature’ and ‘town’ through 200 years of English literature. The connections Williams establishes as he traces the history of Tatton Park near Manchester – ‘an almost perfect example of how the English country house has influenced if not dominated our images of the country’ – are often startling and the film’s style continually illuminates the overall argument. All of the details taken from writers, painters, landscape artists and from 19th and 20th history of major urban centres are placed within a framework of class-based economic history – ‘the country and the city are parts of an interacting system dominated by a single class’- and the result is a unique TV essay. Michael Dibb, the director, has worked well with Williams to ensure that every image, every snatch of sound-track plays its part in the structure.
Time OutRead More »

Ёжик в тумане

Hedgehog is on his way to visit Bear cub,
to sit and count the stars, their nightly ritual. Read More »

Quote:
Having largely focused on literary adaptations from 1951’s Diary of a Country Priest through 1974’s Lancelot du Lac, Robert Bresson turned his attention to the politics of the present with this seminal, searing send-up of post-’68 France. Our protagonist is Charles, a young man adrift who tries out a variety of activities to lend meaning to his life: drugs, psychoanalysis, ecology, radical politics… With surgical precision (and, contrary to his reputation, a sense of humor), Bresson vividly chronicles how Charles and his similarly listless fellow travelers come to know firsthand the emptiness of modern existence, and the question becomes not so much how to cope but rather how to escape. Perhaps Bresson’s most explicitly political film, and among the most chilling cinematic portraits of a historical moment.Read More »