A heady mix of classic noir, blood-chilling horror and high suspense, this film is a thriller following a detective who searches for a corpse that has gone missing from a morgue. The film keeps viewers guessing about both the strange circumstances surrounding the victim’s death and the reasons her body has disappeared.Read More »

Monica is a young and beautiful virgin. She’s only 16 years old, and has already attracted the attention of classmates and seniors alike. She has a boyfriend, Leo, but does not know he is in fact a pimp, who offers young and innocent girls to rich businessmen. One such client falls in love with Monica and offers Leo a significant amount of money to get her. Meanwhile Monica turns her attention to her teacher, not knowing that he also has his secrets.Read More »

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My Name is Joe is a slice of life so raw that you can see the blood dripping off it and in real life it mixes humour, tragedy and violence in equal measure. Joe (Peter Mullan) is a recovering alcoholic and has done a few things in his past which he’s rather forget. Like most people he knows, he’s out of work but he keeps sane by coaching the self-styled worst football team in Glasgow. When one of Joe’s players, Liam (David McKay), gets involved with some local gangsters a chain of events is set in motion which not only threatens the lives of those concerned but also comes between Joe’s budding love affair with social worker Sarah (Louise Goodall).Read More »

Nami is a staff member at an exclusive department store. Her libido is chiefly satisfied alone, until a co-worker talks her into subbing on a porno modeling job. Her appearance in the magazine Red Porno has no end of complications for her.Read More »

While Luchino Visconti’s “Ludwig” (1972) is regarded as a classic, it is little-known that Helmut Berger appeared a second time as Bavaria’s troubled king. “Ludwig 1881” (1993) by Donatello and Fosco Dubini focuses on Ludwig’s journey through Switzerland in summer 1881. Munich court actor Josef Kainz was hired to recite Schiller’s “Wilhelm Tell” in front of the alleged historical locations, to transport the King into a world of poetry and imagination. After a few days the trip had turned into a nightmare for Kainz, who was soon exhausted from the King’s eccentric demands and antics. Once again, the desire for the ideal was marred by the all-too-human.Read More »

If you agonized through “Amadeus”, cringing at the depiction of a giggling buffoon and his featherbrained Constanze, shuddering at the underlying premise that God gave the gift to the wrong man for reasons we just can’t understand, then this film may provide you with a pleasant antidote. Filmed in 1955, probably in anticipation of the bicentenary of his birth, it gives a totally different view of the composer, and recreates the last year of his life on a more intimate anti-blockbuster scale. But though it is an engaging effort with many fine points, it doesn’t succeed in redeeming Mozart from the fictions of Milos Forman’s travesty, because it is itself a fictionalization that distorts in its own way the character of the composer.Read More »

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Tux and Fanny are back and they’re looking for a new home. Come along as they discover VHS tapes hidden under beds, forgotten statues in the desert, and brain biting ladybugs. Will they find a place to call their own or are these two friends destined to roam the land forever?

Eyeballs in the Darkness reminds us that in the dark of the night, we’re all together, eyes wide open, staring at the horizon, waiting for the sun. Written, Directed and Animated by Albert Birney.Read More »

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Adrián, a talented orchestra conductor, receives a video message from his beloved Belén, telling him with tears in her eyes that she is leaving him, and that she cannot carry on with him anymore. Shattered by the unexpected news of their irreversible break-up and puzzled by Belén’s inexplicable decision, Adrián gets help from the local police to solve this mysterious case of disappearance; however, as there is still no news of Belén, a new woman will appear in his life. In the end, with no progress at all in Belén’s baffling case, who would think to look beyond the facts, as truth often lies hidden in the most unusual of places?Read More »

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Ken Loach’s Jimmy’s Hall, the story of Irish communist leader James Gralton, was rumored to be the socialist-leaning filmmaker’s swan song. But the following year, Loach watched as the Conservative Party took power and the lifelong Labour supporter went back to work. It should surprise no one, then, that the Palm d’Or-winning I, Daniel Blake, which heralds Loach’s return from the briefest of retirements, is a staunch antagonism of bureaucratic institutions that prevent blue-collar Brits from earning the livable wages they deserve. But it should also come as not much of a surprise, sadly, that the filmmaker’s latest is pockmarked by a lot of the same conservative dramatic conventions and broad political emotional gestures that have marred much of his work over the years, but particularly his recent output.Read More »