1991-2000

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Life, Death, God, Salvation, Revolution? Those living in the abyss have left the worst behind. Dostoyevsky’s “Devils” takes place in the transition between religious belief and materialistic ideology, foreshadowing not only the approaching death of God, but also the collapse of socialism. Written in the 1860’s, the novel opens not only a philosophical panorama of different types of human quest for transcendence, but also establishes such fateful bonds among those involved in the quest that in the end only state terror can prevent widespread annihilation. Beauty and terror mate before dusk.Read More »

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Darezhan Omirbaev (Kairat, Kardiogramma) directed this French-Kazakh film about a young man driven to the precipice in an uncaring world. Marat (Talgat Assetov) works as a chauffeur for a well-known scientist. Driving home from the maternity hospital with his wife Aijan (Roksana Abouova) and their new baby boy, Marat is at fault during a minor traffic accident. The damage payments on both cars put him in debt. Unable to cover costs when the baby gets sick, Marat finds it necessary to follow a gangster’s bidding to murder a journalist. Shown in the Certain Regard Section at the 1998 Cannes Film Festival.Read More »

Based on a historical novel by Antonio Larreta, Volaverunt imagines a number of romantic misadventures that enlivened the court of King Carlos IV, a Spanish ruler of the early 19th century. As the story opens, the beautiful Duchess of Alba (Aitana Sanchez-Gijon) is sharing a coach passing through Andalusia with artist Francisco de Goya (Jorge Perugorria), Prime Minister Manuel de Godey (Jordi Molla), and Pepita Tudo (Penelope Cruz), a peasant girl. Goya and de Godey are obviously charmed by the Duchess’s exotic beauty and free-spirited attitude, but the Prime Minister is equally smitten with Pepita. The Prime Minister invites her to the royal court in Madrid, where she becomes his mistress and the subject of several of Goya’s paintings. However, Queen Maria Luisa (Stefania Sandrelli) disapproves of de Godey’s new love, and instead arranges for him to marry the Countess de Chinchon (Maria Alonso), a plain-Jane member of low-level royalty. The Duchess is upset with de Godey’s marriage, as it keeps her away from a collection of royal jewelry she covets. When the Duchess suddenly and mysteriously dies, Goya, de Godey, and Pepita are all murder suspects and must confess where they were and what they were doing at the moments leading up to her death. While the film itself received mixed notices, Aitana Sanchez-Gijon received the Silver Shell as Best Actress at the 1999 San Sebastian Film Festival. The version screened at San Sebastian and several other festivals in the fall of 1999 was director Bigas Luna’s original cut; the film’s producers announced that the film would be re-edited for international release. ~ Mark Deming, All Movie GuideRead More »

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Angelo is an orphan who grew up with a nomad woman. He reacts to his pain over the death of his best friend for overdose, thanks to the encounter with Serena. She survives being a prostitute, but she has not lost hope. Angelo moves along an axis of characters in a desolate and poetic day without end.Read More »

Synopsis from AMG:
In this episodic animated fantasy from France, an art teacher interprets a series of six fairy tales (each involving a prince or princess) with the help of two precocious students. Princes et Princesses was created using a special style of cutout animation, with black silhouetted characters performing the action against backlit backdrops in striking colors. Produced in 1989, Princes et Princesses was first released in Europe in 2000 and received its first screening in North America at the 2000 Toronto Film Festival. — Mark DemingRead More »

Chicago Reader wrote:
Chantal Akerman’s haunting 1993 masterpiece documents without commentary or dialogue her several-months-long trip from east Germany to Moscow–a tough and formally rigorous inventory of what the former Soviet bloc looks and feels like today. Akerman’s painterly penchant for finding Edward Hopper wherever she goes has never been more obvious; this travelogue seemingly offers vistas any alert tourist could find yet delivers a series of images and sounds that are impossible to shake later: the countless tracking shots, the sense of people forever waiting, the rare occurrence of a plaintive offscreen violin over an otherwise densely ambient sound track, static glimpses of roadside sites and domestic interiors, the periphery of an outdoor rock concert, a heavy Moscow snowfall, a crowded terminal where weary people and baggage are huddled together like so many dropped handkerchiefs. The only other film I know that imparts such a vivid sense of being somewhere is the Egyptian section of Straub-Huillet’s Too Early, Too Late. Everyone goes to movies in search of events, but the extraordinary events in Akerman’s sorrowful, intractable film are the shots themselves–the everyday recorded by a powerful artist with an acute eye and ear.Read More »

Description: God disembowels himself with a straight razor. The spirit-like Mother Earth emerges, venturing into a bleak, barren landscape. Twitching and cowering, the Son Of Earth is set upon by faceless cannibals.Read More »

A portrait of socialist Poland circa 1971 that recounts the last years of Polish poet Rafal Wojaczek, a rebel who became a legend.Read More »

A girl asks her father: “Daddy, why don’t you make films for children?” The filmic answer is a playful, free and personal film in the form of a letter, a film interwoven with a thousand stories, knit together with different textures, a book of images allowing a filmmaker to elaborate his view on cinema and to show the images and the stories he wants to share.Read More »