Drama

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With three full feature films in two years under his belt, Igor Voloshin has both received critical acclaim and provoked public debates. Nirvana (2008), a “gothic cyber-punk” about drug addiction, got Voloshin the Best Debut prize at the Kinotavr film festival in Sochi. In March 2009, Russia’s First TV Channel screened Voloshin’s Olympius Inferno, a melodrama-cum-action about Georgia’s attack on Ossetia dubbed by many critics, such as Mkheidze and Kuvshinova, a state-commissioned “agit-prop” film. His next project, I Am,competed at Kinotavr 2009, where the film’s director of photography Dmitrii Iashonkov received an award for Best Cinematography. The film continues to generate controversy: “the best film of the year or the shame of Russian cinematography?” (Mkheidze and Kuvshinova)Read More »

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After a couple of major studio flops, Peter Bogdanovich returned to his 1960s filmmaking roots with this Roger Corman-produced low budget film. Easygoing expatriate Jack Flowers (Ben Gazzara) makes his living in early-1970s Singapore legally and illegally looking after the needs of American and British businessmen, such as the mild-mannered William Leigh (Denholm Elliott). With his gift for putting clients and girls at ease, Jack opens a successful brothel, but pressure from local mobsters soon puts him out of business. Ever the survivor, he starts working for the shady, Cuban-cigar-smoking Eddie Schuman (Bogdanovich) as a pimp for GIs on breaks from Vietnam. But Jack’s conscience starts to dog him when Schuman hires him to take compromising pictures of a visiting Senator (George Lazenby). Adapted by Bogdanovich, Howard O. Sackler, and Paul Theroux from Theroux’s novel, Saint Jack offers a pimp with a heart of gold, who is less an ugly colonial American abroad than an outsider trying to make the best of a bad situation.Read More »

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Both a romantic-triangle tale and a philosophical take on violence in times of revolution, The Home and the World, set in early twentieth-century Bengal, concerns an aristocratic but progressive man who, in insisting on broadening his more traditional wife’s political horizons, drives her into the arms of his radical school chum. Satyajit Ray had wanted to adapt Rabindranath Tagore’s classic novel to the screen for decades. When he finally did in 1984, he fashioned a personal, exquisite film that stands as a testament to his lifelong love for the great writer.Read More »

A young woman lives a life filled with bad choices. She marries and has a child with an abusive thief at a young age who quickly ends up in prison. Left alone she takes up with his mate (another thief) who seems to give her some happiness but who also ends up in the nick. She then takes up with a series of seedy types who offer nothing but momentary pleasure. Her son goes missing and she briefly comes to grips with what is most important to her.Read More »

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“The Tragedy of Man (Hungarian: Az ember tragédiája) written by Imre Madách was first published in 1861. The play is considered one of the major works in Hungarian literature and has earned a place in the national consciousness in that it is not only performed regularly in Hungary today but dialogue from the piece is often quoted and referred to.

Starting with the expulsion from the Garden of Eden, the three main characters; Adam, Eve and Lucifer travels through history, playing their roles, from Ancient Egypt through the nineteenth century, into a distant and uncertain future. In each era the merits of the human race are presented by Adam, who believes in mankind and human achievement. But it is Lucifer, as the role of his servant or confidant, who exposes his dreams as ones built on injustice and misery.
Eve appears often as a temporary restorative for Adams disappointment in the failures of mankind.Read More »

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It is an odd film: the central relationship between Joseph and Célestine is not entirely plausible, even as a desperate amour fou. But it is well acted and confidently performed. The antisemitism is a key to the film’s oppressive atmosphere. The pale, pinched neatness and pleasantness of this bourgeois household conceal a secret poison sac into which all the evil is drained: Vincent’s horrible leaflets, which express what so many respectable folk are thinking. This is a minor, flawed movie, but watchable in its suppressed, pornographic melodrama. –The GuardianRead More »

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Young New York cop Dan falls in love with waterfront waitress Helen. Helen’s sister Kate falls for gangster Duke. Dan must do in Duke.Read More »

On a sudden whim Goli decides to return to Iran after 20 years of living in France. She lands in Rasht, her home town, located in the north of the country. Farhad, a frame maker by trade, comes to welcome her. He seems to know her well, but the young woman has absolutely no recollection of him.

Director’s statement: I wanted to make a love story slightly different from those we are used to seeing. Farhad, the main character, is a man in love who demands nothing of that love to whom he has devoted all his life and who, like a sort of guardian angel, is content just to follow his beloved Goli’s life from afar.

The film considers what both parties bring to this love equation and reflects on what they gain and what they lose. To what extent can one maintain a sense of belonging when one lives outside one’s homeland and how does a revered image of home correspond to a concrete reality? What is more desirable, a world of one’s imaginings, the world as it is, or a mixture of the two?Read More »

André Chatelin is a restaurant owner in Les Halles in Paris. One morning, a girl named Catherine asks to see him. She happens to be the daughter of his estranged wife, Gabrielle, that André left more than twenty years before. As Gabrielle has just died, André accepts to accommodate Catherine first, then gives her a job in his restaurant before finally marrying her. But the angel-faced young lady might well be a devil in disguise.Read More »