2011-2020

A young librarian, Jonathan Harker, is welcomed at Castle Dracula by the Count and a young woman named Tania, who seems intent on seducing Harker. The Count prevents Tania from biting the young man, but Dracula attacks Harker himself, leaving him weak. Harker attempts to escape the castle, but is killed by a wolf. Harker’s wife, Mina, arrives in the village and stays at the home of her friend, Lucy Kisslinger. Worried about her husband, she visits the castle, and falls under the spell of the Count. It transpires that Dracula has engineered their meeting, because Mina is the reincarnation of his long-lost love, Dolinger. Lucy also becomes undead before the mysterious happenings in the village attract the attention of vampire expert Van Helsing, who prepares for final combat with his deadliest foe.Read More »

Synopsis
The destinies of two families are irrevocably tied together after a cyclist is hit off the road by a jeep in the night before Christmas Eve.
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Based on the novel of the same name, Trydno byt bogom (AKA Hard to be a God) has been transferred to film at least once before. Frustrated explorers from Earth observe the chaotic and oppressive lives of a society on a distant planet that has yet to progress beyond the middle ages.
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An impoverished actor tries to make his girl-friend a big star. But in spite of all his efforts he cannot get her proper roles. Eventually she falls in love with another man and cheats on him.Read More »

Quote:
The Japanese melodrama “Like Father, Like Son” turns on the kind of cruel twist — children switched at birth — that’s the stuff of tear-wringing headlines and fiction. It begins with the revelation that two 6-year-old boys were given at birth to the wrong families, which now need to decide on the best thing to do. For one set of parents, Ryota (Masaharu Fukuyama) and Midorino (Machiko Ono), a comfortably middle-class couple nestled high in a glass tower, the revelation that their only son, Keita (Keita Ninomiya), isn’t a blood relation is a blow to their tiny family. It’s also a wedge that — day by day, hurt by hurt — transforms these loving parents into sparring partners. Family ties wind through the work of the Japanese director Hirokazu Kore-eda, whose films include “Nobody Knows” (about four children abandoned by their mother) and “Still Walking” (about a family grieving for a dead son). In his last film, “I Wish,” he tells the story of two seemingly unsinkable young brothers separated by their mother and father’s bad marriage and choices: Each child lives with a different parent, having been divided up as if they were household possessions. In “Like Father, Like Son,” Mr. Hirokazu again creates a pair of irresistible charmers whose lives are, with increasing emotional violence, upended — with polite bows, civilized conversations and hollow-sounding rationalizations — by the very adults meant to take care of them. — Manohla Dargis
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Eoghan is a sound recordist who is returning to Ireland for the first time in 15 years. His reason for returning is a job offer: to find and record places free from man-made sound. His quest takes him away from towns and villages into remote terrain. Throughout his journey, he is drawn into a series of encounters and conversations which gradually divert his attention towards a more intangible silence, one that is bound up with the sounds of the life he had left behind. Influenced by elements of folklore and archive, Silence unfolds with a quiet intensity, where poetic images reveal an absorbing meditation on themes relating to sound and silence, history, memory and exile. (IMDB)
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Synopsis:

An illuminating – and extremely rare – documentary profile of one of the greatest filmmakers of our time, Béla Tarr. Filmed during the production of his final masterpiece, The Turin Horse, this film features clips, behind-the-scenes footage and interviews with longtime collaborators.

From December 2008 until June 2010, Béla Tarr gathered his “cinema family” near Budapest for his last film: The Turin Horse. This shooting family, which has been collaborating with Tarr for years or even decades, includes Tarr’s wife/co-director/editor Agnes Hranitzky, cinematographer Fred Kelemen (himself a director of some renown), scriptwriter Laszlo Krasznahorkai, musician Mihaly Víg, composer Akosh Szelevenyi, and lead actors Janos Derzsi and Erika Bok.Read More »

A group of young Londoners struggle to find meaning in their lives while masking their discontent with sex, drugs, and rock ‘n roll.Read More »

The face of an exhausted man breathing deeply, his face agitated and, nearby, the sea. A Buddhist monk walks barefoot and incredibly slowly through Marseille – so slowly, that his progress is barely perceptible and he becomes a calming influence in the midst of the town’s goings-on.

More like a performance or installation art project than an ‘art film’, “Le Voyage en Occident” (Xi you) is a follow-up to the 2012 short “Walker” or a kind of second segment, set in Marseille (South France – French Mediterranean coast).
Consisting of only 14 shots of varying lengths – from very brief to a centrepiece of approximately 20 minutes – the film shows two men, narratively unconnected, who finally come together in a sequence that shows off both actors’ physical skills and sense of timing.
Lee Kang-sheng, who features in all Tsai Ming-liang’s films, plays the monk with impressive energy. His uniform slow motion footsteps and devoted posture turn his performance into a veritable tour de force as he unswervingly makes his way from the coast to the market in Noailles (popular market with mixed communities people), like an illusion in his bright red robe. Xi You represents another edition of the director’s series of short films that expand Lee Kang-sheng’s thirty minute slow walking performance at Taipei’s National Theatre into a ‘slow walking expedition’. Unusual, brilliantly chosen camera angles provide a collage of various districts in Marseille, creating a hypnotic space in which this meditative peregrination becomes a surprising journey of discovery.Read More »