2001-2010

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Caveh Zahedi tells the story of a contentious encounter with a college security guard, a story about a moment’s lapse into racism. The film attempts to shed light on the mental process by which racism becomes internalized.Read More »

Story of Expedito, a retired man who walks through or passes by the streets of Río de Janeiro, Brazil. His reality is shared among millions of Brazilians that gain an invisibility status in the metropolis. Expedito turned into an anonymous, witness of the random conflicts that happens everyday at the streets.Read More »

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23 March 2010 | by MisterWhiplash (United States)

There’s something about the way Neil Young ends a song that is unique to him. Actually, a lot of rockers tend to do it, but not to the extent Young seems to do it. That is, just when you think the song is about to reach the end (that is, based on how one has heard the song so many times on an album), it goes on a little longer, or even for another several bars. Take the last song before the encore, ‘Like a Hurricane’. Just when you think the song ends, Young keeps plucking those strings, getting that distortion going, and the band, for maybe just a moment, is not sure if the song is over yet either. They could go on, or stop right there.Read More »

In this colourful modern-day parable of good and evil, a humble village electrician devotes
his compassion and ingenuity to destitute neighbours in a wind-swept valley of
Kyrgyzstan.Read More »

AMG: The story of how a friendship between two of Europe’s most important filmmakers turned into a rivalry is recounted in this documentary. François Truffaut and Jean-Luc Godard first met in 1949; in many ways they were very different people — Godard came from a wealthy and supportive family, while Truffaut had troubles with both school and the law during a hardscrabble youth — but they were both passionate devotees of the cinema, and became star writers at the pioneering film journal Cahiers du Cinéma. Ten years later, Truffaut and Godard were the most visible figures in the New Wave of French cinema, having enjoyed international success with The 400 Blows and Breathless. Read More »

Hungarian director Benedek Fliegauf makes his feature-length debut with Rengeteg (Forest). Shot on digital video, the episodic film is composed of a series of seven different intimate parts bookended by footage of the same people in a large public space. These characters aren’t given an introduction, context, or even character names. Cinematographer Zoltan Lovasi shoots the ensemble cast of non-actors exclusively in close-ups, so the larger situation is never made completely clear. Each segment involves a small group of people in some kind of intense and possibly disturbing conversation. ~ Andrea LeVasseur, All Movie GuideRead More »

Walter Francis (Bill Morrison) and Jerry Peoples (Ralph Tyler), two characters from Mutual Appreciation, share a visit at the Peoples’ home in the countryside.Read More »

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The story takes place in two parallel time planes. The first plot follows the events of one autumn night in 1978. Edward Srodon, a zootechnician, makes an accidental stopover in a farmhouse of Dziabas family in the remote area of Bieszczady Mountains. He stays for the night. The initial distrust between the guest and his hosts is quickly dispelled with moonshine and turns into a camaraderie, intimacy and even friendship. A plan of making a joint business arises, as well as passion and lust, which lead to a surprising and tragic consequences… Second plot is set on a winter day, during the Martial Law in Poland. An investigating team of Milicja Obywatelska (People’s Militia) is visiting the crime scene. Lieutenant Mroz is trying to solve the multiple murder case from four years ago. The tool he has to his disposal is the reconstruction of events with help of the chief suspect, Srodon.Read More »

The pleasure, where it does not end

Love is also time suspended by the word, the language – Portuguese in this case – which invites itself into the body, which hypnotizes them and returns them to a happy flesh. All of Bressane’s staging can be found there, all of this surprising and obvious invention, that is to say alive. In its rhythm, in its editing, in its ruptures, its winks and even its obscurities which we know all come out of the same passion …
A triangle – three beings – suspended in desire, a desire that hangs on all their gestures.Read More »