Crime

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A journalist specialising in criminal cases, trained in the United States and very well-connected in police circles, Zsigmond Gordon (the incredible Krisztián Kolovratnik) has no interest in politics. Described as cynical by his family, he considers himself to be more of a realist who only trusts himself. Always keeping an eye out for the slightest sign of a corpse on the horizon, Gordon is obsessed with the prospect of making the headlines by dealing with “the destiny of those for whom death is the last stop.” And as you may have guessed, a fitting case pops up following the discovery of the body of an unknown woman (Franciska Törocsik), abandoned in the courtyard of a dodgy neighbourhood. Read More »

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A thief (Duke Anderson) just released from ten years in jail, takes up with his old girlfriend (Ingrid) in her posh apartment. He makes plans to rob the entire building. What he doesn’t know is that his every move is recorded on audio and video tape, although he is not the subject of any surveillance.Read More »

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A young hoodlum rises up through the ranks of the Chicago underworld, even as a gangster’s accidental death threatens to spark a bloody mob war.Read More »

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Like Imamura and Oshima, Shinoda Masahiro was a university-educated intellectual who was employed by Shochiku as an assistant director in the early 1950s and felt stifled by the company’s conservatism. But Shinoda was less openly rebellious than the other two and took the opportunity to learn a great deal about camera technique, editing and shot composition by working conscientiously as an assistant to all of the company’s leading directors.Read More »

Naderi’s second film is set in the slums of Tehran. Hanging out in a pool hall, Ali Khoshdast becomes involved in a brawl with three brothers, and accidently kills one of them. He runs for his life, eventually taking refuge in the home of a young woman. The victim’s brothers continue the chase, and finally close in on him. Following the murder, streets, alleys and houses that were all part of Ali’s everyday world suddenly become dangerous and hostile. Although in many ways a classic tale of revenge, Naderi uses this story to imply that an underlying violence pervades society, ready to burst forth with or without justification.Read More »

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A sequel to Laleli’de Bir Azize, and with the collaboration of practically the same team, Gemide is the story of four sailors who sit around the ship and spend their time smoking pot. Their routine life turns upside down when one of them gets mugged and badly beaten.Read More »

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Two young women, marginalised by society, go on a destructive tour of sex and violence. Breaking norms and killing men – and shattering the complacency of polite cinema audiences.

Baise-moi (Fuck Me) is a 2000 French thriller film written and co-directed by Virginie Despentes and Coralie Trinh Thi and starring Karen Lancaume and Raffaëla Anderson. It is based on the homonymous novel by Despentes, first published in 1999. The film received intense media coverage because of its graphic mix of violence and explicit sex scenes. Consequently, it is sometimes considered an example of the “New French Extremity”.Read More »

From cinemaperspective.com
When filmmakers possess a signature style that can be identified across their body of work, they are sometimes referred to as an auteur of cinema. It’s a term that might get banded around too frequently, but one that is often used when discussing Icelandic visionary Baltasar Kormákur. His latest feature is crime thriller The Oath, a personal project which he amazingly produces, directs, co-writes and stars in. The story follows family man heart surgeon Finnur (Kormákur) who tries to rescue his daughter Anna (Hera Hilmar) from her thuggish boyfriend Óttar (Gísli Örn Garðarsson) when she becomes entangled in his dangerous, criminal lifestyle.Read More »

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A great Iranian film , unfortunately unknown in and out of Iran, 23 April 2008
Author: Armand Erfanian from United Kingdom

*** This review may contain spoilers ***

Farar az Tale is an unknown film out of Iran. Even in Iran nobody remembers of this beautiful little masterpiece. There are so many successful visual and musical devices all along the film. The first one is just at the opening and before the opening credits. A man is dropped on the street. Another man tries to see if he is still alive. In finding that he is not, he turns his head towards Morteza (Behrooz Vosooghi) and by his eye expression lets him know that. All that in silent cinema and taking only 23 seconds. That is truly cinema, The art of image! Then the opening credits start, during which we see Morteza in prison, his moustaches are little by little growing. This is economy of great cinema. Using the time of the credits for letting us know that he is in prison and making us feel the length of his stay. The proper plot will begin now, when he comes out of prison and looks for his beloved woman Mehri (Nilufar). Another great moment of the film is when Morteza is looking for a solution to find somehow the 10 000 tomans that he needs to give to the man who married his beloved to get her divorce. Now wandering in the city and its outskirts he walks, stops and sits and looks at people working. Great music of Rubik Mansuri covers this sequence, and still shots or pans get dissolved to each other and gives us impression of boring time that Morteza is experiencing under the hot sun of the South. Iranian cinema is full of so great films… It is a pity that they don’t get any chance to be known… The actors, Behrooz Vosooghi, Davood Rashidi and Abbas Nazeri are absolutely great.Read More »