War

At the turn of the twentieth century, three Australian army lieutenants are court-martialed for alleged war crimes committed while fighting in South Africa. With no time to prepare, an Australian major, appointed as defense attorney, must prove that they were just following orders and are being made into political pawns by the British imperial command. Director Bruce Beresford garnered international acclaim for this riveting drama set during a dark period in his country’s colonial history, and featuring passionate performances by Edward Woodward, Bryan Brown, and Jack Thompson; rugged cinematography by Donald McAlpine; and an Oscar-nominated script, based on true events.Read More »

This film is a typical representative of the Serbian 60s Black Wave film. It attacks some social aspects of Tito’s communist regime, depicting two practically indigenous brothers that came from a small highland village and joined the communist partisans in WWII. After the war, they return to their village, revealing to each other that each has stolen a submachine gun from the army. It’s social critique is quite obvious, according to the film trend in Yugoslavia of that time. It’s plot line is blurred by some surreal inserted symbolical shots. Whereas some of these are brilliant , some of these are quite hard to explain and comprehend. A great film to be seen, (quite hefty cinematography) with some extraordinary choices in visual composition of the contents of particular shots. However, some parts are bit confusing, even more so, I assume, to the non-Yugoslavian audience.Read More »

Volodymyr Denysenko’s searing partisan drama is a neglected masterpiece of Soviet Ukrainian cinema. Recounting a partisan attack on a Nazi officer and the brutal recriminations that follow, Vasyl Zemliak’s quasi-autobiographical script draws on his own experiences in occupied rural Ukraine during World War Two. Denysenko renders Zemliak’s existentialist drama of conviction and sacrifice in starkly poetic visuals, accompanied by the discordant score of Krzysztof Penderecki. Conscience was shot as a diploma project in an effort to evade the censors, but was still denied a release and only screened in 1989. Reminiscent of Larisa Shepitko’s The Ascent, it is less celebrated than its contemporaries in the Ukrainian “poetic cinema” movement, but remains a clarion call of anti-war filmmaking.Read More »

Synopsis:
In 1938 Austria shortly after the Nazi occupation, a prominent Viennese intellectual, Werner von Basil, is arrested for smuggling art treatures out of the country and imprisoned by the Gestapo in a hotel room without any mental sustence of any kind to break him down to make him talk while a young ballerina, named Irene Adreny whom is the lover of the SS officer Berger playing mind games on von Basil, tries to intervene and help the poor intellectual keep his mind intact.Read More »

Peter Berdon joins a group of Stalinists after his father is killed by the Nazis in this grim political drama. The film begins with his arrest and uses flashbacks to tell the events that led to his incarceration. His abuse is chronicled both in and out of prison after he falls in with a Bonnie and Clyde-like duo after the war is over.

The first film for which Laibach composed a soundtrackRead More »

The British Seven Thunders was released in the US as Beasts of Marseilles. Set in 1943, the film stars Stephen Boyd and Tony Wright as escaped POWs Dave and Jim. Hiding out in Marseilles, the two protagonists battle over the affections of local gamine Lise (Anna Gaylor). When they find the time, Dave and Jim plan an elaborate breakout for the other POWs sequestered in the French port city. After an engaging opening, the film relies upon serial-like thrills and hairbreadth escapes to keep the audience awake. Stealing the show from the nominal stars are those grand old British troupers James Robertson Justice and Kathleen Harrison.Read More »

At Oslo in 1945, a French doctor, Guilbert, is abducted by a group of Nazis and taken aboard their submarine. The Germans plan to evade capture by the Allies by steering a course for South America. Guilbert finds himself in the company of several unsavoury fugitives, including a Gestapo chief, a German general, an Italian industrialist and a French journalist who collaborated with the Nazis. When news of the armistice is received, mutiny breaks out aboard the submarine.Read More »

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A somber, visually distilled, and deeply affecting portrait of the human toll and uncalculated tragedy of nuclear holocaust. In contrast to Shohei Imamura’s characteristically unrefined, primitivistic, and subversively bawdy cinema, the film is shot in high contrast black and white, creating a spare and tonally muted chronicle of dignity, survival, community, and human resilience. Through recurring literal and figurative images of regression, Imamura conveys a dual meaning, not only in the community’s noble attempt to rebuild Hiroshima and return to a semblance of normal life after the annihilating bombing but also in their collective gradual and systematic erasure from Japanese society through long-term effects of radiation sickness, infertility, cultural (and geographic) isolation, and social stigmatization.Read More »

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There’s arguably been no historical event that’s captured the imagination of Hollywood and film goers alike quite like the second World War. It simply dominates the War genre; it seems there’s a dozen or more such films for every one about Vietnam, never mind those that have received far less attention than even that controversial conflict. Maybe it’s that a war-weary public demanded feel-good adventures, perhaps it was a culmination of technologies and increases in budgets that allowed for such wide-in-scope pictures with great attention to detail, but whatever the reason, there was plenty of room in theaters for both historically accurate and incredibly grand, sweeping War adventures alike.Read More »