SYNOPSIS
From the back of the case:
After his wife’s death, the husband recalls their first meeting and marriage. She was much younger than him. She used to pawn some things to an antique shop to make a little money. The husband is increasingly intrigued by her mindset. As things develop, he finds out that she was an orphan living with two aunts. The film explores their complex life in a manner unusual for Indian cinema.Read More »
SYNOPSIS
The brutal worlds of murder and dance school competitions are thrown together in yet another lurid Lucio Fulci giallo. When an insane hatpin murderer terrorizes a prestigious New York dance school, mercilessly poking nubile young women deep into their competitive little hearts. Is it one of the students, jealous of competitive placement? Is it the voyeuristic headmaster, who watches the students through his many lurid security cameras? Perhaps it’s even a jealous boyfriend? (DVDActive)Read More »
Synopsis
The story about gladiators against a German background. One of them, Ettore, has become a star of the underworld. He ends up breaking down, caught in a role he can no longer fulfill. His last betrayal is to spill the beans to the press.Read More »
200 minutes of cinema-verite on the life of documentarist Ed Pincus and his immediate family from 1971 to 1976.
Director of Black Natchez, Ed Pincus now lives with his wife Jane in Vermont and owns a flower farm. He recently returned to filmmaking for a documentary about Katrina, and thinks about new projects.Read More »
Quote:
It was in 1981 while I was editing a film, The King of Comedy. We worked at night so no one would call us on the telephone and I would have television on, and one channel in New York at the time, around 2 or 3 in the morning, was showing a film called Transes. It repeated all night and it repeated many nights. And it had commercials in it, but it didn’t matter. So I became passionate about this music that I heard and I saw also the way the film was made, the concert that was photographed and the effect of the music on the audience at the concert. I tracked down the music and eventually it became my inspiration for many of the designs and construction of my film The Last Temptation of Christ. […] And I think the group was singing damnation: their people, their beliefs, their sufferings and their prayers all came through their singing. And I think the film is beautifully made by Ahmed El Maanouni; it’s been an obsession of mine since 1981 and that is why we are inaugurating the Foundation with Trances. (Martin Scorsese, May 2007)Read More »
The movie tells the story of a teacher who spends one winter in a mountain village of Hakkari, a city in the farest South-eastern vorner of the Turkey. Erden Kıral depicts his struggle for teaching Turkish to children who can only speak Kurdish and the loneliness of Zazi in a poetic way and also using the landscape as a further character. The screenplat is based on the novel by Ferit Edgü and adapted by Onat Kutlar with contributions from Tezer Özlü, another famous Turkish writer. The film was awarded with Silver Berlin Bear at 1983.Read More »
Quote:
m’s first international prize-winner (best actress for Kang at Venice) is a more-in-sorrow-than-in-anger attack on the principles of male lineage and ancestor worship in the traditional Korean family. It’s set in the late Yi Dynasty (late 19th century) to stress how deep rooted these things are, but its resonances are squarely contemporary. The well-born Shin and his wife are happy but lack an heir; behind his back, the family conspires with his wife to bring in a surrogate to bear him a son. Their choice is Ok-Nyo (Kang), a free-spirited girl who endures various physiological and sexual indignities (intended to ensure that she produces a boy) because she comes to like Shin and enjoy the relatively pampered life – forgetting she is there only as a servant. The emphasis on female suffering has come in for some critical stick, but Im’s analysis of Confucian blockages in the Korean psyche seems all too cogent. And his mastery of image, tone and rhythm is unassailable. TRRead More »
Quote:
More a dream about than a dramatisation of Genet’s novel, this is glorious and infuriating in equal parts. The port of Brest is built and lit more like one of Burroughs’ Cities of the Red Night, murderous deity Querelle’s ambisexual encounters are suffused with a sweaty, tangible eroticism, and Fassbinder’s ‘version’ stays faithful to Genet’s nightmare poetry. But its narrative detachment, weighty monologues, Resnais-like anachronisms, and (most irritating of all) listless rationale turn it into a lurid hymn to teenybop nihilism. All in all, perhaps an entirely appropriate parting shot from a drug-crazed German faggot. – TimeOut LondonRead More »
From AMG:
Neo-Tokyo consists of three fast-paced tales set in a surreal cyberpunk landscape. Most of the tales center around either cops pursuing criminals or criminals running from the cops — none of the stories has a great deal of psychological depth. What makes this film an essential part of the animae canon is its particularly wonderful and inventive envisioning of the Tokyo of the future (which, in America, always seems like the Tokyo of today). As the late twentieth century counterpart to early modernist city symphonies and mid-century noirs, Neo-Tokyo has a good deal to say about 21st century metropolitan life and its effects on the human condition. It’s merely icing on the cake that it does so with a fabulous blend of humor and technological terror. –Read More »