1981-1990

Various excerpts:
“Cry-Baby is a 1990 American teen musical film written and directed by John Waters. It stars Johnny Depp as 1950s teen rebel “Cry-Baby” Wade Walker, and also features a large ensemble cast that includes Amy Locane, Iggy Pop, Traci Lords, Ricki Lake, Kim McGuire, David Nelson, Susan Tyrrell, and Patty Hearst. The film did not achieve high audience numbers in its initial release, but has subsequently become a cult classic and spawned a Broadway musical of the same name which was nominated for four Tony Awards.

The film is a parody of teen musicals (particularly Grease) and centers on a group of delinquents that refer to themselves as “drapes” and their interaction with the rest of the town and its other subculture, the “squares”, in 1950s Baltimore, Maryland. “Cry-Baby” Walker, a drape, and Allison, a square, create upheaval and turmoil in their little town of Baltimore by breaking the subculture taboos and falling in love. The film shows what the young couple has to overcome to be together and how their actions affect the rest of the town.Read More »

Quote:
D’après La Question paysanne en France et en Allemagne et une lettre à karl Kautsky de Friedrich Engels et de La lutte des classes en Egyptes de 1945 à 1968 de Mahmoud Hussein.

Film en deux parties dont la première est consacrée à la France, la seconde à l’Egypte. Sur les images de la campagne bretonne est lu un texte de Hengels décrivant la misère des paysans en 1789. Pour l’Egypte, c’est un texte de l’historien Mahmoud Hussein sur la lutte des classes dans ce pays depuis Bonaparte jusqu’au règne de Sadate.Read More »

Synopsis:
Jamie Gillis plays successful writer Paul and starving artist Phillipe both living in Paris. He is two people because he must balance a delicate sexual situation involving Frannie and Natasha. What makes OUTRAGEOUS more than watchable is the introduction of these two incredibly gorgeous newcomers to the world of explicit films. They are worth it. Lots of Paris footage and good production… Joey Silvera and Anna Ventura have a hot scene, shot about the time Joey was coming into his own as an adult film major name.Read More »

SYNOPSIS
Brazil constitutes Terry Gilliam’s enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.Read More »

From the net:

While four male convicts are being held temporarily in a women’s prison, they succeed in taking a group hostage and demand their freedom. The district attorney retaliates by forming a select squad to eliminate the troublemakers and a bloody battle ensues.Read More »

Quote:
Love Streams is at once a culmination of the director’s obsessions and his most atypical film. It’s a movie that gives up its mysteries slowly—flirting with theatricality, inserting dream sequences, concluding on a brazenly surreal enigma. Cassavetes stars as Robert Harmon, a tough-guy novelist with unorthodox research methods. Rowlands, magnificent as ever, is Robert’s sister, Sarah Lawson, a divorcée who turns up at his doorstep with two taxis full of luggage and an entire barnyard menagerie. An emotional live wire and by default a social rebel, the embarrassingly demonstrative Sarah is kindred spirit to A Woman Under the Influence’s unhinged housewife Mabel Longhetti and Opening Night’s aging stage star Myrtle Gordon: All are women with a raw-nerved, overwhelming capacity and need for love. The enormously moving interplay between Cassavetes and Rowlands gets at the heart of the performative spectacle unique to his films: an interaction beyond words and gestures, predicated on the invention of a shared language so hyperbolic and specific and almost inexplicable it must be love. Indeed, the movie—as its title suggests—performs an anatomy of its subject. More explicitly metaphysical than the other great Cassavetes films, it nonetheless shares their view of love as a way of life and a form of madness.Read More »

Plot synopsis by Don Kaye from allmovieguide:

Das Boot is one of the most gripping and authentic war movies ever made. Based on an autobiographical novel by German World War II photographer Lothar-Guenther Buchheim, the film follows the lives of a fearless U-Boat captain (Jurgen Prochnow) and his inexperienced crew as they patrol the Atlantic and Mediterranean in search of Allied vessels, taking turns as hunter and prey. There’s very little plot, so the movie’s power comes from both its riveting, epic battle scenes and its details of the boring hours spent waiting for orders or signs of the enemy. With the exception of one staunch Hitler Youth lieutenant, none of the crew is particularly loyal to the Nazis, and some are openly hostile toward their Fuhrer; this allows viewer sympathy with the men as they perform their laborious, monotonous duties in cramped, filthy quarters, or await death as depth charges explode all around the sub. Prochnow is excellent as the nerves-of-steel commander, and many of the supporting actors — all German — are solid as well, although the characterizations border on war movie clichés (the young crewman who has left behind his pregnant girlfriend, the Chief Engineer whose wife is seriously ill). Read More »

A man sits down to watch a football match, which seems to consist of the players being violently mutilated in various inventive ways. The players then leave the football pitch and invade the spectator’s flat…Read More »

Review from the New York Times website, by Vincent Canby :
“Thérèse”, Alain Cavalier’s cool, unsentimental, astonishingly handsome consideration of the life of St. Therese of Lisieux (1873-1897), is a far cry from “The Song of Bernadette.” Here are no heavenly choirs, no visions bathed in celestial light, no skeptics suddenly transformed into believers by miraculous, not otherwise explicable phenomena. Instead, “Thérèse” is resolutely objective. It examines the religious faith and exaltation of Thérèse Martin, later to be known as the Little Flower of Jesus, in the pragmatic way with which she herself seems to have accepted the experience of her conversion. As played – radiantly and with a good deal of humor – by Catherine Mouchet, Thérèse remains a mystery not to be analyzed but to be accepted as a fact of church history.Read More »