1971-1980

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Bourgeois convention is demolished in Luis Buñuel’s surrealist gem The Phantom of Liberty. Featuring an elegant soiree with guests seated at toilet bowls, poker-playing monks using religious medals as chips, and police officers looking for a missing girl who is right under their noses, this perverse, playfully absurd comedy of non sequiturs deftly compiles many of the themes that preoccupied Buñuel throughout his career—from the hypocrisy of conventional morality to the arbitrariness of social arrangements.Read More »

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Song of revolutionary hero, Valentin, sung by Jose Santollo Nasido en Santa Cruz de la Soledad; Chapala, Jalisco, Mexico.Read More »

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Roy Andersson premiered his second feature-length film, “Giliap”, in 1975. The film is a marked departure from “A Swedish Love Story”, and that is no accident. Success brought pressure onto Andersson to make “A Swedish Love Story II”. But he didn’t want to be someone who churned out yet another film in the same spirit, and then one more… So he changed style drastically in “Giliap”. Andersson had great hopes for the film, but it found neither a public nor positive reviews. “Giliap” did, however, win a larger reception abroad, especially in France. Yet despite its meagre successes in Sweden, the film is interesting, not least aesthetically. For here one finds the first seeds of Andersson’s distinctive film style.
In “Giliap”, actor Thommy Berggren plays a wandering day-labourer who takes employment at the fading Hotel Busarewski. The hotel is run by a wheelchair-bound misanthrope who harshly deals out orders to his staff as he reminisces about Busarewski’s former golden days.Read More »

Jutka, a young woman who works in a factory, falls in love with Andras, a university student. She pretends to be a student, to him and to his parents, and begins to live a lie. Finally she rebels against Andras and his demands and the social conventions that forced her to live a lie.Read More »

Description: A Vietnam veteran heads to an island inhabited by cannibals to save a kidnapped model not only from her kidnappers, but also from the cannibals’ lurking Devil god.Read More »

Synopsis
Based on a novel and a disowned script by the late Paddy Chayefsky, Russell’s noisily grandiose swipe at psychedelia embellishes what is no more than the cosily familiar story of the obsessive Scientist Who Goes Too Far and Unwittingly Unleashes, etc. Harvard clever-dick (played with almost unconvincing solemnity by Hurt) blows his sensory deprivation experiments (with a little help from his friends and hallucinogenic drugs), and starts to regress – spectacularly – until he looks in serious danger of being sucked down the cosmic lavatory pan into the big zilch.
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A beautiful young woman goes to the island of Lesbos to rest, He meets two beautiful young and have a great time fucking around the world.Read More »

SUMMARY
In feudal Japan, women are vulnerable, in need of protection, and capable of deception. Jokichi of Mikogami, a drifter, has not yet fully revenged the death of his wife and son. He searches for Kunisada Chuji, who in turn has hired the knife-throwing Windmill Kobunji to kill him. Kobunji and Jokichi meet in the winter, near Sasago Pass, when both have rescued women: Jokichi has saved the lute-playing Oyae whose clan and whose lover want her dead; Kobunji has rescued Oharu, a well-born woman married to an innkeeper. Is this rescue a whim or something deeper? And why does Jokichi become the consumptive Kobunji’s protector? What ultimately will Jokichi do about Oyae?
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SUMMARY
Can a sinful man change and find peace? It’s unlikely in gang-plagued Japan. Jokichi of Mikogami, a drifter (and hired sword), goes straight after protecting a woman in distress: they marry, have a son, and Jokichi pursues his father’s craft. After three years, the gangs he embarrassed when he saved his wife find the family and leave Jokichi in grief, vowing revenge.
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