Comedy

Moncef Kahloucha is a fan of ’70s genre movies, especially those with Bruce Lee, Jim Kelly and Clint Eastwood. Apart from working as a house painter in Kazmet, a poor Tunician locality, Kahloucha is a tenacious director, actor, screenwriter and prop master in his own zero-budget productions. At the limits of communal, visceral cinema captured on a VHS camera, it literally costs Kahloucha blood, sweat and tears to shoot his next film: Tarzan of the Arabs, opening at a bar TV set. With an amplified eye, Néjib Belkhadi not only records a ferocious making-of, but also manages to come out with a crystal-clear map of Kazmet’s social ills, including the Arabs who must survive in their Italian exile to the tune of the anthological “Tunisino” by Neshez. The savage primitiveness of the shooting, the struggle for a place in the ads of the neighbors-actors and Kahloucha’s displays of tinsel used in previous films are some gripping, all but likely moments of an incendiary passion for cinema.
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The wonderful Warner Bros. stock company goes through its customarily breezy paces in Havana Widows. Joan Blondell and Glenda Farrell star as Mae and Sadie, a couple of hard-boiled dames who support themselves by shaking down wealthy and susceptible older men in Havana. Their current target is Deacon Jones (Guy Kibbee), a self-appointed moralist whose rock-ribbed values disappear after the third drink. But Blondell spoils the scam when she falls in love with the Deacon’s son Bob (Lyle Talbot). Less than a month after the release of Havana Widows, many of the same cast members were back to their old tricks in Convention City. ~ Hal Erickson, All Movie Guide
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Plot:
The adventures of wisecracking telephone repairmen Terry and Johnny are by turns comic, risque, and heroic. Terry pursues Marie, a hotel switchboard operator, who loses her job when she innocently does a favor for gangster Nicky. Terry gets Marie a job with financier Schuyler; but Nicky has new plans for her. Read More »

Extraterrestrial Girl visited Earth.
Inventor Blinkov in love with her. His love is awakened in her new emotions and feelings.
She realized that Blinkov can not live in a different world.
And she leaves the Earth with sadness and loneliness.
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Richard Harris stars as a foreign entrepreneur, who ventures to Russia in 1885 with dreams of selling a new, experimental steam-driven timber harvester in the wilds of Siberia. Julia Ormond portrays his assistant, who falls in love with a young Russian officer, played by Russian star Oleg Menshikov, and spends the next 10 years perfecting the harvester and pursuing her love, who has been exiled to Siberia.
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Vincent Canby @ The New York Times, Feb 17, 1972 wrote:
Probably no man, not even Norman Mailer, will ever have the last word on women’s liberation, but until ones does, perhaps the Andy Warhol-Paul Morrissey “Women in Revolt” will do. The movie is called a comedy, but it can be more accurately described as a madcap soap opera whose three manic heroines are played by female impersonators—which may be interpreted as the ultimate put-down of women’s lib, as well as the ultimate endorsement.

More particularly, “Women in Revolt” ( as did “Trash” ) recalls Hollywood movies of the 1930’s and 1940’s, especially those slushy romances in which Alice Faye, Frances Langford and Patsy Kelly compromised everything except their virtue in their pursuit of husbands.Read More »

Quote:
Documentary film-maker Bob Saunders and his wife Carol attend a group therapy session that serves as the backdrop for the opening scenes of the film. Returning to their Los Angeles home, the newly “enlightened” couple chastise their closest friends, Ted and Alice, for not coming to grips with their true feelings. Bob insists that everyone “feel” rather than intellectualize their emotions, and Carol pronounces “that’s beautiful” after anyone says anything even remotely personal. Ted and Alice humor their friends, but it is obvious that there is a good-natured sexual tension at work within the foursome.Read More »

Careless and merciless bureaucratic machine turns a case of 80 year old peasant Pelageya Demina about crossing a railroad in a wrong place into criminal offense. Her oldman seeking help to get her out of jail.Read More »

Beynelmilel / International: Co-directed by Muharrem Gülmez and scriptwriter Sirri Süreyya Önder, Beynelmilel / International takes movie-goers to the days in the aftermath of the coup d’etat of September 12th, 1980. Here we are in a remote town of Adýyaman watching the tragicomical story of a group of local musicians. The film depicts the extent to which ordinary people were affected by the military suppression after the coup. It is a period movie made in an ironic and humorous manner. (Istanbul Film Festival booklet – 2007)

• IST.FF 2007 – The Special Prize of the Jury was awarded to “Beynelmilel / International”.
• IST FF 2007 – Best Actress Award was given to Özgü Namal for her performance in “Beynelmilel”.Read More »