Drama

Plot: The story takes place in the 1920s. William, a young aristocrat, has just won a property in Chili, near Santiago, in a poker game. He takes his wife Anne-Marie there so that she can rest. Right from the moment they arrive, they are welcomed by strange and intrusive characters bound together by an oppressive and poetical figure, the ghost of Léonor, who died accidentally. The house, with its suffocating presence, becomes the theater of an incredible substitution linked to the anxieties and desires of an unsatisfied man. (uniFrance)Read More »

A look at the cuban revolution told from three different perspectives in
italian neo- realist style, the first film of legendary cuban film auteur Tomás Gutiérrez Alea.

Quote:
Three vignettes about war in Cuba feature a wounded fighter, guerrilla bombardment and a funeral cortege.Read More »

Synopsis:
Tsuneo is a university student working part-time in a mah-jong parlour. Lately the customers have been talking about an old lady who pushes a baby carriage through the streets. They say she is carrying something for a crime syndicate, and they wonder what it is she has in the carriage. Money? Drugs? One day, the owner of the mah-jong parlour sends Tsuneo out to walk his dog. A baby carriage comes rolling down a hill and crashes into a guard rail. The old lady asks him to look into the carriage, where he finds a young woman clutching a knife. This is how Tsuneo first meets the girl who calls herself Josée.Read More »

A Parisian experimenter with Lumiere’s Kinematograph (Charles Denner) dies in WW1, and his son (Charles Denner) grows to be a man who barely survives WW2 in a concentration camp. He marries another refugee (Marthe Keller) who dies in childbirth, leaving him a daugher, Sarah, who at age 16 (Marthe Keller) is a spoiled debutante hopelessly in love with pop singer Gilbert Bécaud (Gilbert Bécaud) she goes through the 60s trying every fad while her father wishes she’d settle down. Meanwhile, sneak thief Simon Duroc (André Dussollier) winds up in prison, where he slowly turns his devious energies to their least-antisocial use: filmmaking.Read More »

Quote:
Though he was very much a member of the community of filmmakers who graduated from FAMU and went on to shake things up during the sixties, Evald Schorm also stood apart from the rest. Like his fellow directors, he was using the medium to get at the absurdity of life in Communist Czechoslovakia, but Schorm was dedicated to a more direct, realistic type of filmmaking than his friends Věra Chytilová, Jan Němec, and Jiří Menzel, who readily turned to whimsy, fantasy, and comedy. Referred to as both the philosopher and the conscience of the New Wave, Schorm, whose relatively sober style has been called documentary-like (his focus at FAMU was nonfiction filmmaking) and received comparisons to that of Antonioni, explored themes of morality and the malaise of the socialist middle class (such income-based social strata did exist in Czechoslovakia), and preferred psychological portraiture.Read More »

Veteran gangster Gustave (Lino Ventura) escapes from prison to find his sister is being blackmailed by some petty thugs in this crime thriller. He plans one last caper to steal enough money in hopes of retiring to a tropical paradise. He and his gang are sought by a detective (Paul Meurisse), the cop who plays by the book and avoids the sadistic torture practiced by his less-honorable cohorts. Soon Gustave is caught between the police and the double-crossing gangsters and discovers too late that there is no honor among thieves.Read More »

Quote:
The hero of Ayn Rand’s The Fountainhead is Howard Roark (Gary Cooper), a fiercely independent architect obviously patterned after Frank Lloyd Wright. Rather than compromise his ideals, Roark takes menial work as a quarryman to finance his projects. He falls in love with heiress Dominique (Patricia Neal), but ends the relationship when he has the opportunity to construct buildings according to his own wishes. Dominique marries a newspaper tycoon (Raymond Massey) who at first conducts a vitriolic campaign against the “radical” Roark, but eventually becomes his strongest supporter. Upon being given a public-housing contract on the proviso that his plans not be changed in any way, Roark is aghast to learn that his designs will be radically altered. Roark sneaks into the unfinished structure at night, makes certain no one else is around, and dynamites the project into oblivion.Read More »

In a series of vignettes, a partially handicapped man lives his days in anguish as he tries to find a way to leave Dhaka.Read More »

From Channel4.com:
Rossellini’s indelible career flagged in the late 1950s for a variety of complicated reasons, and after directing commercial films and an episode in Rogopag (1962) he abandoned cinema for television. Twelve years later and near the end of his life he returned to movie-making with this film. It’s a biopic of the postwar Christian Democrat leader, Alcide De Gaspari (Vannucchi), who was responsible for keeping the Communists out of power in the years that followed the fall of fascism. An extension of Rossellini’s documentary and historical reconstruction films, this failed both critically and commercially.Read More »