1981-1990

IMDB:
An English couple holiday in Venice to sort out their relationship. There is some friction and distance between them, and we also sense they are being watched. One evening, they lose their way looking for a restaurant, and a stranger invites them to accompany him. He plies them with wine and grotesque stories from his childhood. They leave disoriented, physically ill, and morally repelled. But, next day, when the stranger sees them in the piazza, they accept an invitation to his sumptuous flat. After this visit, the pair find the depth to face questions about each other, only to be drawn back into the mysterious and menacing fantasies of the stranger and his mate. Written by jhaileyRead More »

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In his New York City landscape, Cohen finds inspiration in disturbance. Looking to life for rhythm and to architecture for state of mind, he locates simple mysteries. Just Hold Still is comprised of an interconnected series of short works and collaborations that explore the gray area between documentary, narrative, and experimental genres.

The first part concerns a personal, poetic approach to narrative and includes 4:44 (From Her House Home), Never Change (with Blake Nelson), Love Teller (with Ben Katchor), and Light Years. The second part involves hybridized use of verité footage and the confrontation of documentary concerns with the music video format and includes Selected City Films, Glue Man (with Ian MacKaye), and Talk about the Passion (with R.E.M). The work can be considered as a whole, or each piece in the project can be viewed (and rented) as a separate entity.Read More »

R E V I E W B Y D E R E K H I L L
Director Tinto Brass is a man of big passions. His films — excluding Caligula (1980), which doesn’t really fit into his overall body of work — are filled with curvaceous women who are uninhibited and bold enough to freely express their healthy appetites for sex. Brass’ camera lovingly (and intrusively) explores the many facets of a woman’s beauty, be it physical or psychological. Brass also isn’t shy about what he likes most about a woman’s body, either — her ample backside. The bigger the better.
Although Brass would probably chuckle at the idea that his films have a strong feminist slant, Brass’ female leads are strong, independent, and almost heroic in their quests to become emancipated from their roles as housewives, concubines, or mothers. Less cartoonish than his American counterpart Russ Meyer’s heroines, Brass’ ladies actually exude a real humanity with their sensuality.
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The bridge film between his (Sokurov’s) first decade’s essays into historicized metafilm and the subsequent, fame-making fata morganas is Days of the Eclipse(1988), a patience-testing post-apocalyptic dawdle (based on a novel by the Strugatsky brothers) that plays more like aimless third-world doc than science fiction. Concerning a young doctor stuck in the middle of a rocky wasteland (actually, Turkmenistan, though it could easily pass for any post-colonial hunk of Africa), Daysis maddeningly oblique, visually erratic, and utterly disconnective. Angels, earthquakes, talking corpses, Stalinist iconography, and visual disjunctions may figure in, but for the most part Sokurov designed the film as an elusive tissue of non-happenings and mysterious nexuses, all of it sucking the dusty air of Soviet-satellite poverty.Read More »

An interesting documentary on Renoir’s Regle du Jeu. From the series Image Par Image. Told entirely in images from the film, no talking heads. With optional English subtitles.Read More »

Lucas has invented a new computer language but at the same time he has been informed about his strange terminal illness during which he has been gradually losing his memory. Shortly after that he meets Blanche who acts as a medium in a bizarre traveling show. Dying Lucas follows her to the sea resort where they spend together several days and nightsRead More »

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An hour-long feature from Japanese director Shinyu Tsukamoto, Tetsuo (also known as Tetsuo: The Iron Man) tells a horrific, cyberpunk-influenced science fiction tale about the intersection of man and post-industrial technology. The central character is a Japanese salary man, an average office worker who is transformed by a brief encounter with a metals fetishist, a man who has purposefully implanted pieces of scrap metal in his body. The salary man soon begins sprouting pieces of metal from various parts of his body, a change which is accompanied by increasingly nightmarish visions and bizarre, metal-filled sexual fantasies. As the man evolves into a strange hybrid of man and machine, he also develops a telepathic connection with another of his kind: the metal fetishist, who has been undergoing a similar conversion, and may indeed be the cause of the salary man’s transformation. The two engage in a violent, destructive battle throughout the streets of Tokyo, accompanied by an appropriately industrial soundtrack. Shot on a small budget in 16 millimeter black-and-white, Tsukamoto reprised many of the images and plot elements of Tetsuo in a higher-budgeted sequel, Tetsuo II: Body Hammer.AMGRead More »

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Peter, a 20 year old Viennese photographer, has made the bookings for a holiday with his friend Liesl in the south of France. A French tourist seduces him and he falls for her. Liesl is mad at him. But she wants to go on the trip so she leaves with him. But they do not spend their time together. She flirts with the men on the beach while Peter falls for Simone, a southern beauty, even though they don’t speak the same language. Simone’s fiancé arrives and their affair is over. He misses her exotic charm and doesn’t find it in Liesl who’s just ‘the girl next door’ for him. Liesl flies back home when their vacation ends but Peter wants to stay on in France and look for a job. Contemporary love story about the confrontation of French and Austrian culture.Read More »

Like every other teenager in school Simone has a crush on a rock star. When her idol, the lead singer ‘R’, comes to town to make a television appearance Simone is gripped by a trance-like state, leaving school, friends and parents behind her – she must meet him. However, when Simone comes to realise the shallow nature of the ‘glamorous’ music industry and of ‘R’ himself, she plans a calculated, ritualistic and bloody revenge on her obsession.Read More »