Synopsis:
This 1964 Oscar winner for Best Orginal Screenplay stars Cary Grant as a boozy beachcomber during WWII who monitors the radio in the South Pacific in exchange for shipments of alcohol. When lovely and structured French schoolmarm Catherine Freneau (Leslie Caron) crashes onto the island, an immediate and electric fuel ignites between the two polar opposites.Read More »
Synopsis:
Young, pretty and innocent Fanny Hill has lost her parents and must find her way in life amidst the perils of turbulent 18th century London. She is fortunate enough to find rapidly a place as chambermaid of the effusive Mrs. Brown. Mrs. Brown lives in a large house teeming with female “relatives” in négligée and with very relaxed manners. She also insists that Fanny meets alone various gentlemen who show an ardent interest in Fanny.Read More »
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Carol Rivers receives the surprise news that she has inherited the Midnight nightclub in her Uncle Fletcher’s will. She decides to take it over, ignoring the advice of her mother who is concerned about Carol’s history of mental illness and wants her to sell it. Three guys break in and rape Carol but the complaint is dismissed by police because of her psychiatric history. Carol is charmed by a police detective, but he later appears to be an impostor. She soon starts to learn about the perverse secrets that the club once held.Read More »
Synopsis
When one of the most prolific art forgers in US history is finally exposed, he must confront the legacy of his 30-year con.Read More »
Synopsis:
Portrait of the artist as a young man. In spring, 1965, Bob Dylan, 23, a pixyish troubador, spends three weeks in England. Pennebaker’s camera follows him from airport to hall, from hotel room to public house, from conversation to concert. Joan Baez and Donovan, among others, are on hand. It’s the period when Dylan is shifting from acoustic to electric, a transition that not all fans, including Baez, applaud. From the opening sequence of Dylan holding up words to the soundtrack’s “Subterranean Homesick Blues,” Dylan is playful and enigmatic.Read More »
Jonas Mekas’ BIRTH OF A NATION (1997) continues the filmmaker’s investigation into the possibilities of film-as-diary to offer glimpses of key figures of experimental cinema, including Stan Brakhage, Tony Conrad, and Michael Snow, compiled from footage shot over four decades. As far back as the masterpieces WALDEN (1969) and LOST, LOST, LOST (1976), Mekas has been turning his roaming camera on those around him, eschewing conventional documentary in favour of a more impressionistic, subjective engagement with his friends and surroundings.Read More »
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Amos Kollek directs this quiet, understated comedy about lonely hearts and empty pockets in New York. Pushing 40, Bella (Anna Thomson) works as a waitress at small downtown diner in Manhattan. Her elderly regulars include Paul (Robert Modica), a lovelorn retiree who scours the personal ads and his ill-tempered buddies Seymour (Victor Argo) and Graham (Mark Margolis), who are more than a little disparaging toward Paul’s attempts at finding love. Involved in a 12-year relationship with married Broadway theater director George (Austin Pendleton), Bella craves marriage and children. On a blind date set up by her mother, Bella meets Bruno, a divorced cabbie and fledgling novelist with two young children. Meanwhile, Paul meets ready-and-willing widow Emily (Louise Lasser), while Seymour shacks up with Wanda (Valerie Geffner), a stripper with a master’s degree.Read More »
Not surprisingly, Jørgen Leth became fascinated by Katherine Dunham (1909-2006), an African-American anthropologist, dancer and choreographer living in Haiti. Dunham was politically engaged and a powerful personality. Unfortunately, at the time it proved impossible to raise the money to produce a film portrait. This pilot has survived on a battered VHS cassette. Footage from a dance seminar in East St. Louis is complemented with interviews with Dunham and other black dancers. The producer Terry Carter is working on having the planned Dunham film accomplished.Read More »
In the American corporate media, Castro is always played up as some kind of monster. The corporate media (and a host of draconian laws help) prevent us from hearing what he has to say. This documentary is excellent if anything but to give us a chance to hear what Castro has to say.Read More »