2001-2010

Quote:
My Mother (French: Ma mère) is a French-Austrian-Portuguese-Spanish 2004 movie about the fictional story of an incestuous relationship between a 17-year-old boy and his attractive, promiscuous, 43-year-old mother. The movie stars Isabelle Hupert, Louis Garrel, Emma de Caunes, Joana Preiss, Philipe Duclos and Jean-Baptiste Montagut. French director Christophe Honoré, who wrote the screenplay, based it on the controversial and posthumous novel of the same name by French author George Bataille. Honoré shot the film on location on the island of Gran Canaria, Canary Islands, Spain. Its dialogue is almost entirely in French with brief segments in Spanish, German and English. Film distribution company TLA Releasing released Ma mère in France, at the Cannes Film Market, on 13 May 2004.
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A man, a woman, two children: a family. He is a musician. She used to be one until the children came. One day, Marie discovers that not far from where they live, her husband Thomas has set up a second life for himself, a second home with a second family. Marie falls into shock, slowly sinking into her pain by the end of the day. Finally, she is driven by her desperate need for consolation and explanations to seek Thomas at his night concert in an old castle, where there is a masked ball. From then on, she embarks on an emotional journey that will lead her to make an unexpected decision.Read More »

Impolex tells the story of Tyrone S., a United States soldier in Operation Paperclip, the mission to locate and retrieve German rockets and rocket science after the end of World War II. Tyrone is tasked with finding what he believes are the last V-2’s. Lost in the woods of an undefined European country, people from Tyrone’s past begin to appear in unusual ways, bearing strange tidings. A loved one he abandoned for the war is especially prominent in Tyrone’s journey, as is a fellow soldier and a mysterious man with tidings of the present and the future that are not yet known to Tyrone. Impolex is an unjustifiable blend of the bare bones realism of John Ford’s WWII documentaries and the glorious stupidity of Abbot and Costello.
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bbc’s website wrote:
Back in 1960 Ken Russell made a remarkable film about mining in Northumberland called The Bedlington Miners’ Picnic.
Forty five years on, Russell is back in the North East revisiting the people and places featured in the film.
It’s a poignant story of survival, loss and community spirit.
South East Northumberland was once one of Britain’s richest coalfields, producing tons of coal for industry and homes.
Today the coal mining industry is virtually extinct in the North East of England with no deep pits left in production.
Inside Out follows film director Ken Russell as he revisits the area where he shot one of his first documentary films in 1960.
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Focusing on ten films that span the range of the twentieth century, Thomas Leitch traces the transformation of three figures common to all crime films: the criminal, the victim and the avenger. He shows how the distinctions among them become blurred throughout the course of the century, reflecting and fostering a deep social ambivalence towards crime and criminals. The criminal, victim and avenger characters effectively map the shifting relations between subgenres (such as the erotic thriller and the police film) within the larger genre of crime film.Read More »

SHORT SYNOPSIS
Steph (Emma Lung) lost her parents in a car accident while still a baby. She was raised by her parents’ over-protective best friend, Jude (Jacqueline McKenzie). She receives her dead mother’s locked diary on her 18th birthday, the same day she starts work at the local peach cannery, and begins dual journeys, one pushing into the mysterious past and the other pursuing romantic complications in the present. The diary “reveals the colourful and sexy past of those close to her.”

Steph learns about her mother Jass (Samantha Healy), her father Johnny (Tyson Contor), and about the difficulties of love with her boss Alan Taylor (Hugo Weaving).

“Peaches is a love story that deals with accepting loss and change, and learning to move on.”Read More »

While postwar British cinema and the British new wave have received much scholarly attention, the misunderstood period of the 1970s has been comparatively ignored. Don’t Look Now uncovers forgotten but richly rewarding films, including Nicolas Roeg’s Don’t Look Now and the films of Lindsay Anderson and Barney Platts-Mills. This volume offers insight into the careers of important filmmakers and sheds light on the genres of experimental film, horror, rock and punk films, as well as representations of the black community, shifts in gender politics, and adaptations of television comedies. The contributors ask searching questions about the nature of British film culture and its relationship to popular culture, television, and the cultural underground.
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amazon says:
An original collection of recent interviews with filmmakers whose works represent the trends in the film industries of their respective countries. Preceding the interviews, the author provides an introduction delineating historical information regarding the film industries of the countries included in the book.

Each interview comprises of stills from important films discussed and a bio/filmography of the artist. In addition to creative concerns, the focal point of the interviews is to position the filmmaker within the social or political context of their respective country. The striking variety in approaches towards each interview creates a rich diversity of tone and an overwhelming impression of animation within the text. Cinemas of the Other offers a carefully researched and detailed first-hand account on the developments and trends in specific regional film industries.
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The lives of a man, a cat, and a goldfish intersect in unexpected ways.
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