Laurence Kardish, Sundance Film Festival wrote: “Edge and emotionally complex, Black & White is a very unusual film… [It] is a nocturnal love story suffused with the melancholy and anxiety of not belonging, and full of the sad understanding of what it means to be a stranger.”Read More »
Synopsis
Gary, an unskilled young man, lands a job as a decontamination sub-contractor at a nuclear power plant in the lower valley of the Rhone. Inducted into the workforce by supervisor Gilles and veteran Toni, Gary discovers that radiation contamination is not just a risk factor but an everyday hazard. At the same time, he begins an illicit affair with Karole, the fiancée of Toni.
IMDb.com
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Sunhi (Jung Yu-Mi) graduated from college, majoring in film. In order to ask about a recommendation letter from Professor Choi (Kim Sang-Jung) to study in the US, she visits her university after a long time. Sunhi expects Professor Choi to give her a good recommendation letter because he likes her. She also meets two other men she knew: Moon-Soo (Lee Sun-Kyun), who just became a film director, and Jae-Hak (Jung Jae-Young), who is a well established film director.Read More »
Imdb User Review:
Watch it like that you can’t watch any movie after this time,it gives you unbelievable moments…
29 August 2006 | by hashus (Turkey)
Lütfi Akad is one of the most important directors of Turkey, he gave our cinema very useful things, a lot of things started with his camera…he was different, he moved cinema from sets to streets, he gave to watchers real world,real people, no star… his actors didn’t act in front of the camera, they lived in white-screen…
And I think Akad’s the best movie is Vesikali Yarim, because he always directs real stories which everybody can live them, but in this story we can’t find anything from us…but we forgot one important thing : director is Lütfi Akad…so again we find us in the white-screen between actors. He can do this. Although story is not from us, he can move us his movie…In this movie, he asked us “Who deserve the real love?” and “Does love deserve the reality?” I won’t say anything about answers but if you watch this movie, you will see them easily…Read More »
Synopsis: Director Ken Loach and writer Paul Laverty team up again for the romantic drama Ae Fond Kiss. The filmmaking team’s third film set in Glasgow, this story involves a mixed-race relationship that causes problems for all involved. Casim Khan (Atta Yaqub) lives with his Punjabi-born Muslim family in Scotland. He wants to open a nightclub with pal Hammid (Shy Ramsan), but his parents have arranged for him to marry his cousin Jasmine (Sunna Mirza). Then he meets Irish schoolteacher Roisin Hanlon (Eva Birthistle), whom he quickly falls for. After calling off his family-approved engagement, Casim is ostracized by his father, Tariq (Ahmad Riaz). Meanwhile, Roisin runs into a concerned priest (Gerard Kelly) when she tries to get a job at a Catholic school. Ae Fond Kiss won several prizes at the Berlin Film Festival in 2004. -Andrea LeVasseur (AMG)Read More »
Tamara and Sasha were separated during the war. Now (1957) Sasha is visiting Moscow for five days and by chance recognizes the house where Tamara used to live. She is still living there with her nephew Slava.Read More »
Plot Synopsis by Hal Erickson
“Strange” is right: this mystical MGM melodrama has to be the oddest of the studio’s Clark Gable-Joan Crawford vehicles. When eight prisoners escape from a New Guinea penal colony, they are picked up by a sloop commandeered by another escapee named Verne (Gable) and his trollop girl friend Julie (Joan Crawford). Among the fugitives is Cambreau (Ian Hunter), a soft-spoken, messianic character who has a profound effect on his comrades. One by one, the escapees abandon their evil purposes and find God-and a peaceful death–through the auspices of the Christlike Cambreau. The last to succumb to Cambreau’s ministrations is Verne, who agrees to return to return to the prison colony serve out his sentence if Julie will wait for him (which she does). A superb Franz Waxman score provides a touch of show-biz grandeur to this haunting fable.
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Quote:
Unlike William Wyler’s inferior 1939 film adaptation, Luis Buñuel’s Abismos de Pasión is more than a literate extrapolation of Emily Bronte’s gothic masterpiece Wuthering Heights, which certainly must count as one of the five greatest novels of the English language. Though not overtly surreal, Buñuel’s minor classic is fraught with the kind of feverish contradictions typically heir to his cinematic dogma. Critic Manny Farber observed in his eulogy for Val Newton (published in The Nation back in April of 1951) how Jacques Tourneur’s The Leopard Man gives “the creepy impression that human begins and ‘things’ are interchangeable and almost synonymous and that both are pawns of a bizarre and terrible destiny.” Farber felt the Surrealists had never been able to transform the psychological effects of their dramas into a realm of the non-human but, four years later, Buñuel would accomplish something similar with his very Latin rendition of Bronte’s classic. The film’s dreary exteriors (the trees without leaves, the buzzards on constant alert) evoke a landscape of spiritual unrest, a breezy gateway between the living and the dead. While the film arouses the dreaminess of the original text, death signifies more than the lead couple’s transcendence of the flesh—it’s also a fascinating wish fulfillment.Read More »
synopsis
The day before her wedding, a young woman goes out one last time with an old boyfriend.
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