The film portrait falls somewhere between a painting and a prose poem. Sachs looks at a fictional woman’s daily routines and thoughts. By interweaving threads of history and fiction, the film becomes a tribute to a real woman: Emma Goldman.Read More »
In the town of Litan, a local festival or celebration day is occurring—townsfolk dress in masks, play music, make merry. Nora (Marie-José Nat) awakens from a nightmare and is convinced that she’s prophesied some impending doom. Rushing to her husband, Jock (Mocky), who’s job involves some kind of demolition work at “the Black Rocks,” she plunges into a bigger nightmare, where telephone calls are routinely interrupted by crossed wires leading to mysterious messages from “the cemetery,” and strange rotoscoped glow-worms lurk in the waters, waiting to dissolve those who fall in…Read More »
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Gérard Depardieu and Wojciech Pszoniak star in Andrzej Wajda’s powerful, intimate depiction of the ideological clash between the earthy, man-of-the-people Georges Danton and icy Jacobin extremist Maximilien Robespierre, both key figures of the French Revolution. By drawing parallels to Polish “solidarity,” a movement that was being quashed by the government as the film went into production, Wajda drags history into the present. Meticulous and fiery, Danton has been hailed as one of the greatest films ever made about the Terror.Read More »
Fisher, an ex-cop, returns to his old beat somewhere in northern Europe after a thirteen-year hiatus in Cairo. His former mentor and role model, author of a treatise called “The Element of Crime”, asks him to solve a series of murders involving lottery ticket sellers. Guided by the theories put forth in the book, Fischer retraces the steps of a suspect, Harry Grey, as recorded in a three-year-old police surveillance report.Read More »
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During the shooting of Andrei Tarkovsky’s last film Offret, cameraman Arne Carlsson taped around 50 hours of behind the scenes footage. Editor Michal Leszczylowski took the material and added scenes of previous interviews and interesting statements from the script of Offret and from Tarkovsky’s book ‘Sculpting in Time’. The result is a documentary that shows the way Tarkovksy worked: carefully building each scene. Shows why he did the things he did: his vision on film. And shows the emotion of the man Tarkovsky: his great disappointment when the camera breaks while shooting the house going up in flames.Read More »
A lavish two-part costume tragedy based on the classic The Dowerless Girl by the nineteenth-century playwright Alexander Ostrovsky, A Cruel Romance (also known as Ruthless Romance) was the biggest Soviet box-office hit of 1984, though it seems to have had little international exposure until now.
It marked a change of direction for the veteran Eldar Ryazanov, who up to then had tended to specialise in contemporary comedy, though it seems to have done his career little harm: he was made a People’s Artist of the Soviet Union that year – and no wonder, quite apart from the film’s commercial success, its mostly wart-ridden portrait of the venal, money-grubbing bourgeoisie of the then-discredited Tsarist era must have gone down a storm with the Soviet authorities.Read More »
Lynne and her friend John shot this film with a Regular 8 camera on a roof in San Francisco, literally creating a “drawn and quartered” image. Mostly, they each exist in their own private domains, separated by the barrier of the film frame. Sometimes, however, one person dares to intrude upon the pictorial space of the other.Read More »
AMG: Shanghai Blues combines romantic comedy, slapstick, music, and several classic coincidences (a favorite ploy of director and writer Tsui Hark to tell the story of a man (Kenny Bee) and a female dancer (Sylvia Chang) who meet under a Shanghai bridge in 1937 as they seek shelter from the Japanese bombing of the city. They are immediately drawn to each other and make a pact to meet under the bridge again when the war has ended. But their plans are thwarted and ten years later, the man gets an apartment in Shanghai (where he works as a musician, songwriter, and clown) unaware that the dancer — for whom he has been searching — is his downstairs neighbor. Meanwhile, a young, bubbly woman makes friends with the dancer at the club where she performs and inadvertently causes a considerable mix-up that at first looks fated to keep the star-crossed lovers apart.Read More »
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Henryk Goldszmit – aka, Janusz Korczak – was born in 1878 to a prosperous, assimilated Jewish family in Warsaw. Convinced from an early age that the rights of children needed defending, he studied pediatrics and organized a number of institutions for children, including a famous orphanage that he was forced to move into the Jewish ghetto after the Nazis invaded Poland. Yet he remained convinced that even the Nazis would not harm his children. Wajda’s moving, wrenching and highly controversial portrait of Korczak ponders the fate of a kind of modern saint in a world in which evil has become the rule. Brilliantly incarnated by Wojciech Pszoniak from a script by Agnieszka Holland, Korczak both fascinates and repulses. The man’s complete, unquestionable dedication to his children is set against a refusal to understand – or perhaps accept – the reality all around him. A thoughtful, provocative work that was clearly a key influence on Schindler’s List.Read More »