Margot, who lives in a comfortable middle class apartment, fears that she is losing her mind after having had her second child. Her husband Kurt, who is busy studying for an exam, does not understand her situation. Her mother-in-law and sister-in-law Lore are openly hostile to her. She resorts to valium and drink, and looks for sympathy, but to no avail.Read More »
Synopsis:
The drawbacks and difficulties of military life are explored in this film. Paolo Passeri (Michele Placido) is a college graduate, somewhat spoiled, somewhat effete, who finds himself in an officer training program under the stern martinet, Captain Asciutto (Franco Nero). He gradually becomes acclimated to the military mind-set, and when the Captain’s wife (Miou-Miou) decides to take a romantic interest in him, he does not report her dangerous peculiarities to anyone.Read More »
Quote:
Some films cry out to be made. Others whisper, and some just offer the tiniest, weariest shrug. ”Spoiled Children,” which opened yesterday at the Public Theater, is one of the latter. Its main character is a film director who rents an apartment in which he plans to create his latest screenplay. While living in the apartment, he joins the tenants’ committee, has a desultory affair with a woman much younger than he, pays visits to his wife that are even more desultory, and otherwise whiles away time.
This director, Bernard (Michel Piccoli), appears to be assembling material for his film with an arty randomness, selecting occasional snippets of his own experience and shaping his screenplay around them. He even has a collaborator, who chimes in ”It’s strange how the cemeteries in Berlin are colder than elsewhere.” The collaborator then proclaims the remark ”Great!” and wonders how he can wedge it into the film. Bertrand Tavernier, the film’s director, may have worked in much the same way.Read More »
Quote:
If Werner Herzog’s The Enigma of Kaspar Hauser is, as I contend, an exegesis on the human tendency to contextualize life through custom – not to mention, of course, the inculcative parallels through which both we and less domesticated species glean long-term behavioral patterns – then his 1976 work, Heart of Glass, is an admonishment on holding such traditions in too high of sentiment. Despite revolving ostensibly about an 18th century Bavarian village, the director appears to be simply employing this milieu as but a microcosm for any culture that’s extinction draws nigh, painting progress and evolution as more reliable entities than ritual and superstition. Heart of Glass’s diaphanous narrative is laden with hints to such contemplations, though in the end, none reads as poetically oblique as the opening sequence: A formal and spoken manifestation of death.Read More »
Quote:
For Come on Children, from 1972, King returns to the lives of troubled Toronto youths, but this time he creates the environment of study himself. After doing extensive interviews with local teenagers, King sent 10 of his subjects on a country retreat to a farmhouse where they could live collectively without the interference of adults, hierarchies, or rules. Each of the teens, ranging in age from 13 to 18, gets a musical introduction from one of the more charismatic subjects, a pimply ex-drug addict named John. His Dylan-esque folk narration gives Come on Children a reflexive identity, the best example his last lyric, “I’m not sure what the film’s about, but I hope the movie makes you feel that you wished you were here.” These kids understand the camera’s perspective, but that doesn’t stop them from unveiling a disturbing mixture of naiveté and hardnosed cynicism at the adult life waiting around the corner. Once again, King uses a collective set piece—a visit from everyone’s parents to the farmhouse—to show the dynamic drama breathing through the core of every conversation. If Come on Children is less successful at engaging the viewer’s sympathies, it’s because the Vietnam-era teens don’t see much to look forward to, an ideology King never sugarcoats.Read More »
Features Dukes Of Hazzard’s Daisy Duke only nude scenes!
Crazed features a fully-nude lesbian scene between Daisy Duke herself Catherine Bach and critically acclaimed character actress Leslie Caron (Chocolat, Gigi)! Because of this notorious scene, Crazed has become one of the most sought-after movies on the cult film collector’s circuit. Nicole (Leslie Caron), a reclusive widow who lives alone in her mansion with only her housemaids and butlers to keep her company, leads a decadent and lustful life. Using her voluptuous body and her vast fortune to manipulate those around her, Nicole is obsessed with controlling all the people in her life. However, as she finds love with a dashing suitor and friendship with a young aspiring dancer (Catherine Bach), Nicole begins to change for the better…that is until she suspects her new lover may be cheating on her. As her crazed suspicions begin to spin her life out of control, Nicole weaves a devious web of deception and betrayal, all leading up to bloody murder! Read More »
Quote:
Here are some ways that Bettrand Tavernier, in production notes for his new film ”A Week’s Vacation,” describes his film: ”A portrait of a woman against the background of almost murmured questions that concern us all, approached without didacticism.” ”A laughing fit before you realize it’s going to snow.” ”An old man who knows a lot.” ”A motorcycle engine more familiar than a Moliere play.” ”A letter you read at the end of summer.”Read More »
PLOT SYNOPSIS
Documentary about Brazilian history, from 1945 until the 70s, focusing on president Juscelino Kubitschek, his political rise, his philosophy of economical development, his gigantic project of constructing a new capital city for the country, Brasília, in the middle of the jungle, and his last years, after the military takeover, when he was deprived of his political rights and went into a temporary exile.Read More »
imdb summary
Mauro, a judge, is worried about his older sister Marta, who took care of him since he was a boy, and is now affected by psychic problems and suicide fantasies. She seems to recover from her depression when Mauro acquaints her with Giovanni, a brilliant actor at the edge of legality. Mauro become unconsciously jealous of this relationship, and try to get Giovanni arrested.Read More »